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780.92 D98830-2

Dvorak, Antonin,

1841-1904,
Antonln Dvorak

letters and
1954

Al3lA~

ANTONf N DVORAK

ANTONIN
DVORAK

LETTERS
AND REMINISCENCES

OTAKAR SOUREK

Translated from tbc Czech by
Roberta F inlay son Sams our

FOREWORD

Antonfn DvoMk needs no introduction to the English-
speaking public, for, during his life-time, no country honoured
him more for his art nor paid greater tribute to his genius than
England, while three years of his life were dedicated to work as
a composer and teacher in America. Nor has his reputation
suffered any decline in the estimation of succeeding generations,
for Dvorak's name has its secure place among those of the
world's greatest classics,

The unique course of Antonin Dvorak's life story, from
the lowliest of beginnings to the highest rungs of fame~a story
which the reader of this volume is enabled to follow through the
skilful selection and arrangement of the letters and reminiscen
ces made by Otakar Sourek, the leading Czech authority on
DvoMk's life and work-while itself of no small interest, is
enhanced by the picture it gives of his relations with notable
personalities of the musical world of his day. Among these his
friendship with Brahms stands out as one of the most beautiful
friendships to be recorded between two great artists. Other
letters, again, show the .bond of warm mutual esteem that united
DvoMk and his great Russian contemporary, Tchaikovsky, or

the high respect for his genius shown by Gustav Mahler, in the
presentation of Dvorak's works to the Viennese public. Here he
was following in the tradition of his predecessor, Hans Richter,
conductor of the Vienna Philharmonic, guest conductor of
Europe's famous orchestras, later, permanent conductor of the
Halle" orchestra in Manchester and one of DvorYik's most
enthusiastic admirers and interpreters, the correspondence with
whom has added interest as frequently throwing light on Dvo
rak's own estimation of his works. Other conductors, whose
personal friendship he enjoyed and who also did much to bring
his works to the notice of the musical public, are Hans von
Billow, Arthur Nikisch of Leipzig, Joseph Barnby, founder and
conductor of the oratorio concerts in the Albert Hall, and Anton
Seidl of New York. Ties of affection and professional interest
were close, too, between Dvorak and many of the great repro
ductive artists of the time, such as Josef Joachim, violin virtuoso
and leader of his own Quartet, to whom he dedicated his Violin
Concerto, Hanu3 Wihan, the noted Czech 'cellist, FrantiSck
OndHEek, the Czech violin virtuoso, the famous English oratorio
singers, the Bohemian Quartet, the Ilellmesbergcr Quartet
in Vienna, the Kneisel Quartet in Boston, all of whom were
happy to include the works of Dvofdk in their programmes to
which audiences in all parts of the world reacted with the same
warm enthusiasm and admiration.

The reminiscences, again, illuminate different aspects of
Dvorak's musicianship, his abilities as a conductor and as a pi
anist, while his valuable pedagogical work is reflected with great
charm in the reminiscences of his pupils, among whom Josef
Suk and Vitexslav Novak hold high place in the succeeding ge
neration of Czech composers. Nor are there lacking those which
give us intimate glimpses of the artist's personal traits,

These, however, are revealed best of all in Dvorak's own
letters, which are written with that simplicity, sincerity and
spontaneity which give them their distinctive flavour and charm*
We get a picture of him as a loving and beloved father in the

circle of his large family, for whom he is deeply concerned to
make proper provision, as we learn from his very characteristic
letters to his Berlin publisher, Simrock ; we see the great-hearted-
ness of his love and almost child-like affection for his friends,
whose sympathy and interest are as necessary for his spiritual
well-being as the lovely pine-forests of his country for his phys
ical; we follow him in his struggle to dedicate his gifts to the
highest aims of art and his stubborn refusal to make any compro
mise or take one step along the easier path to material success;
we see him happy and inspired to new effort by appreciation and
recognition, and hurt, but not dismayed, by malicious criticism
or lack of understanding; we see him, too, in his intense pre
occupation with his art and learn something of his methods of
work; or, again, as a conscientious and enthusiastic teacher, who
spares his pupils as little as he spares himself; and we cannot
but wonder at the amazing industry, the ceaseless creative activ
ity, which was never merely on the surface, but had its roots
deep in his immense spiritual and musical resources. And,
finally, there emerges the portrait of Dvorak, "a simple Czech
musician", unspoiled by fame 3 with the manly virtues of truth
fulness, courage and simplicity, a boundless enthusiasm for the
beautiful, in whom love of God, love of his fellow-men and love
of country (to each and all of which he acknowledged his debt
with the true humility of greatness), were the mainsprings of
a life dedicated with an unusual singleness of purpose to the
service of art as his form of service to humanity,

If this volume, in spite of the transposition into another
language, in which process some of the subtler and more volatile
essences must needs escape, brings the life and work of Antonfn
Dvorak nearer to the reader, increases his insight into the mind
and endears to him the personality of a genius to whom the
whole world, in its turn, owes a debt, then those who have worked
at the making of this book will be rewarded in knowing it to
serve the purpose which they had in mind.

The Translator

The book which we here present to the public does not aim
at giving a critical appreciation and analysis of the greatness,
nature and significance of the creative personality of Antonin
Dvofdk. Its purpose-a much simpler but an equally rewarding
one-is to illustrate by means of documents^ excerpts from memoirs
and letters written by DvorYik's contemporaries or by himself
how altogether unique was the life of this artistic genius in its
imposing rise from the humblest of Czech origins to the towering
significance of an artist admired and honoured by the whole
world, a life whose course is all the more remarkable when we
consider how unassuming in its simple, humanity, yet at the
same time how inexpressibly noble, straightforward and pure
was the character of its hero,

This collection of documents, the contents and names of
the authors of which are themselves sufficient evidence of what
outstanding contemporaries Dvofdk counted among his friends
and how high these personalities valued his art, brings out the
unique nature of the events and circumstances of DvoMk's life
and delineates his personal traits with all the greater warmth,
conviction and interest the farther the idea was from the wri-

ters' minds, that these reminiscences and letters would one day
fulfil such a mission. The general picture that thus emerges
acquires its special colouring from the way it places in the fore
ground the exceptional greatness of Dvorak's life-work^ which
stamps its author as one of the most fertile and original creative
spirits which Czech music has ever had or is ever likely to have.
The wealth of documentary material which I have collected
in the course of long years devoted to the study of Dvorak's life
and the critical evaluation of his work is, however, so great that
it would provide material for several such books as this. And
I must confess that only the necessity of keeping within the
limits laid down by a book of this kind reconciled me to ex
cluding many a document not less characteristic and interesting.
I trust, however, that even within this narrower selection it has
been possible for me to present the material in such a way as to
bring out with plasticity the chief events in Dvorak's life and
indicate the continuity of his artistic development, while at the
same time illuminating sufficiently clearly the most characteristic
features of his creative personality.

0. tf.

Prague, 18 g\i 86.
Honoured Sir,

I must con/ess quite frankly that I was rather taken aback by
your esteemed letter because of its excessive devoutness and humility,
so that it would seem as if you were speaking to some demigod, for
which, however, I have never taken myself nor never shall,

I am just an ordinary Czech musician, who does not love such
exaggerated humbleness, and although I have moved quite enough
in the great musical world, 1 still remain what I have always been
a simple Czech musician.

Antonin Dvofdk

, . .Among living composers of music, I know no other name able
to set all the strings of my inner being vibrating in the same way.

Antonin Dvorak!

I yield myself up completely and willingly to the intoxicating
sound of his lyre. When listening to his works,! lose all power of criti
cism and become a mere listener with nerves tingling to their very
tips in sympathy-singing, weeping, rejoicing and dreaming along
with him, forgetting for a fleeting moment the burden of existence
and its infinite sadness . . ,

Josef Bohumil Foerstcr (see

Truth ungilded, true democracy, not humbling himself before
the mighty, not stressing his own greatness as compared with "lower"
beings, the self-confidence of "one of the chosen'' without vanity,
feeling without sentimentality, an inexpressible delight in ivork,
a pure and uncomplicated relation to God and his fellow-creatures
these were the qualities of his spirit.

And a continual creative restlessness! I see the Master's hand
constantly, and often even during conversation in the intervals,
playing restlessly on his coat as on a keyboard. It seemed as if his
whole thought was only music,

He lived in the confident assurance that he was serving his
Nation and his God..,

The expression of his eyes was that of a child and at the same time
that of a great and deeply reserved thinker, and if those eyes rested on
yours in the abstraction of thought, involuntarily your inner being
trembled,,.

Josef Suk (see l) ,

, . , Ton know the feeling when somebody takes the word out of
your mouth before you have time to form it? That was always my
experience in Dvorak's company. In him his person and his work
were interchangeable, And then his melodies were as if he had taken
them from my heart, Such a bond nothing on earth can sever,.,

Leo Janiek (see 14) .

. ..There are composers for whom music is an instrument for the
expression of their poetic or philosophical ideas or of their Titanism,
On the other hand there are composers who are themselves the in
struments of music and saturated with its beauty. The former express
through music what touches them, the latter change to music what
they touch. Among these latter are the geniuses Haydn, Mozart and
Schubert, and of their company is also Antonin Dvofdk. Composition
for them is a living necessity-more life's greatest ecstasy. What
perfume is to a flower, and song to a bird, musical composition is to
them . . .

Vitezslav Novdk (see 14$) ,

. . .What I perform that I uphold, Dvorak is, for me, along with
Brahms, the most outstanding musician . . .

Hans Btilow (see 113).

, , Jn Vienna it is well-known that Brahms once gave someone
who had sharply criticized Dvorak a retort which was as con
clusive as it was modest: "/ should be glad if something occurred to
me as a main idea that occurs to Dvorak only by the way., ."

Josef B. Foerster (see 15 ) .

.,, Antonin Dvordk knew how to listen to Nature, The real
values of things are transmuted by him into the spiritual values of
music. Tree, brook and stone sing each their own song. He rewelds
the naturalist rhythms of country music into rhythmic poetry, The
earth sings , , ,

Tes, Dvofdk has his roots in the life of the Czech countryside,
He has a complete command of the craft-technique of his time and
even goes beyond it (here I am thinking of Brahms), but he fills
the form with the spirit of his country and that is what., in my opin
ion, made Antonln DvoPdk a world figure in music. There is only
one way to interest the world in our culture, and that is ; to acquire a
mastery of all the technical possibilities of the day, but at the same
time never to forget to speak good Czech.

Antonin Dvordk is, in this respect, a quite remarkable example. , ,

Vdclav Talich (a well-known Czech conductor of the present
day).

, . .Among outstanding Czech personalities there is no other who
received so little earthly fortune, so little help on the path which his
life was to follow and w/io, in spite of such handicaps, succeeded in
advancing so triumphantly along that path or received such recog
nition at home and abroad as Dvorak, And let us add that you
will not easily find another who tried so little to forget his first steps
into life, materially so unenviable, or who recalled them so truthfully,
yet without the smallest attempt to make the contrast between thorn
and his later successes add to the lustre of his person, as did Dvordk ,. ,

Dr. Josef Zubaty (see 8) .

.,,/ like Dvordk, He is immensely good and natural. He is
passionately in love with music and convinced that it is the best thing
in the world. When going through a composition^ the deep furrow
that divides his brow grows still deeper* Dvofrlk is entirely with
out self-conceit^ world fame has had no influence, on him ; he remains
as natural as he was before, It seems that in all that he docs he is
keenly enthusiastic , , ,

Marie Cervinkova-Riegrovd ( see 48) ,

. . .Dvorak himself was peculiarly Czech, sincere, pithy,
unaffected, warmly emotional. He identified his whole personality,
without reserve, with his art so that you will nowhere find a greater
sincerity of artistic expression. He has thus preserved for us, for ages
to come, features of the Czech character and thereby become an insepar
able part of Czech culture and one which, unfortunately, has not so
far been properly evaluated,

Dr. Josef Zubatf.

. ..Antonin Dvorak was great not only in his art but also in his
character and in his energy. His soul was so crystal clear in its purity,
his inner being so unsullied by the self-seeking currents of life, that
he stood like a giant, head and shoulders above the grasping medley
of human desires, envies and strifes. Nor was he any misanthropist,
who wrapped himself in the cloak of inaccessibility. He was fond of
company and moderately gay and sociable ; he loved Nature and his
pigeons and was sensitive to feelings and impressions. But one thing
was unknown to him : envy and the petty taking of of once, backbiting
and malicious pleasure in the misfortunes of others. He looked down
on all low striving from the height of a spirit dedicated to art. This
art, which permeated his whole being, also gave to his character its
stamp of lofty simplicity, sincerity and honesty which is the hall-mark
of spiritual nobility. When he died it was possible to say of him with
complete truthfulness: He fell, clean, upon his shield.,.

Ladislav Dolansk^ (see

i. SUK'S LEGEND OF DVORAK'S BIRTH

Near the spot where the Vltava joins the Labe(Elbe), below
a proud castle, a boy was born in a poor cottage. It is late in the
evening, the father is still at work outside, the mother by the
cradle is humming softly till the infant falls asleep and her own
tired, anxious eyes close in weariness. The cottage is silent except
for the monotonous ticking of the old clock.

Suddenly in the gloaming there appear three strange female
figures around the cradle. The three Old Women.

The first bends over the babe, kisses him on the forehead
and says: "Much suffering and hardship will be your lot, but
you will be strong and great. You shall forget all your poverty
and though poor you shall give others happiness and wealth.
Your thought and your work will bring a smile to people's faces
and tears of gladness to their eyes."

The second figure then approaches, kisses the babe on the
mouth and says: "Your lips shall not speak a sweet, smooth
language. Yet in one word of yours there will be more wisdom
than in whole books by men wise in their own conceit. You

will be silent in days of greatest trial and of greatest joy."
And the third figure, beautiful beyond imagination, kisses
the babe on the heart and says: "You shall be raised to a place
among the greatest of your country's sons by the power of your
understanding and the strength of your feeling. Your work shall
be eternal, but be warned that work which bears the mark of
immortality cannot be grasped by passing vanity. Son of this
soil, know that the outside world will pay you homage and in
you will pay homage to your country, but it is in your own
country that you will experience many a disappointment. But
your spirit will not be warped by wrath or bitterness for you
shall remain a child with the same pure spirit as you have today."
The babe began crying and the mother kissed the fright
ened child and comforted it. This is the legend of Nelahozeves . . .

From the burial oration at the VySehrad Cemetery in Prague. Josef Suk (1874-
1935), a noted Czech composer and, for 40 years, second violin in the widely famed
Bohemian Quartet, was Dvorak's pupil and son-in-law. Dvorak's birthplace was the
small village of Nelahoxeves, situated on the bank of the Vltava about 30 km north of
Prague. Dvorak's father, Frantiek, and his wife, Anna, rented an inn here with a
butcher's business. Their son, Antonfn, was born as the first of nine children on the 8th
September 1841.

2. DVORAK'S RECOLLECTIONS OF CHILDHOOD

"...Look there at the little village with the long name of Nela-
hozeves. And there just below the castle of the Prince Lobkowitz,
that low building... do you see it?-that's where my father had
his inn and at the same time carried on his trade of butcher.
It was in that little house that I was born and here in this lovely
countryside that I spent my poor childhood."

The Master's voice sounded strangely soft ... he fell silent
for a while and his dark moist eyes wandered over the familiar
scene. Suddenly his gaze came to rest on a particular point and
round his lips there played a roguish smile. "The little church

there . . . that's where I played my first violin solo. And what a
fuss I was in that time and how afraid I was when I tuned my
fiddle and how my bow shook at the first notes. But it turned out
all right. When I had finished, there was a hum and buzz
throughout the whole choir, everybody pressed round me-my
friends smiled happily at me and clapped me good-naturedly
on the shoulder, and our neighbour, the leader of the violins,
gave me a whole groschen."

"That was the happier side of my youth, the brighter mo
ments, but even the darker side was not uninteresting though it
cost me many a tear. Look there 1 These are the places I used to
visit with my Father to buy all kinds of cattle-beasts, and when
my Father entrusted me with one or other member of the brute
creation, it would often out of sheer exuberence give me the slip,
or without more ado drag me into the nearest pond, so that my
situation was not exactly enviable. But all the calamities and
trials of my young life were sweetened by music, my guardian
angel . . . That little church on the hill there, is my old acquaint
ance. There, at fair times, I would play under the leadership of
the brother of my Zlonice teacher, Liehmann, who was choir
master here..."

From the book of reminiscences : "With Dvorak in England", by Vdclav J~. No-
votnj (1849-1922), Czech composer, writer and critic. In September, 1884, he accompan
ied Dvorak on his second visit to England to the musical festival in Worcester (see
85-86). For a note on the teacher, Antonfn Liehmann, see 4.

3. CERTIFICATE OF APPRENTICESHIP ISSUED
BY THE BUTCHER'S GUILD IN ZLONICE

We, the undersigned office-holders of the honourable
Town Guild of Butchers,

do by these presents bear witness and confirm that Antonin Dvorak
of Nelahozeves, born on the 8th September 1841, of Roman Catholic
denomination, was bound as an apprentice in the year 1854, on the

fifth of the month of November, at the opening of the Guild Fund,
to the butcher's trade, the apprenticeship to run from the 1st November
for two years. In as far as the aforesaid Antonius Dvorak conducted
himself during the specified period of the two years of his apprentice-
scip honestly, faithfully and industriously, and having learned, as is
testified to by his Master, Jan Roubal, the trade of butcher well and
properly, he was presented on the self-same 1st of November 1856
to the assembled gathering^ under the chairmanship of the P. T.
superintend ant of this Guild and declared in due order to have served
his apprenticeship.

Having made out for the above-named Antonius Dvorak this
CERTIFICATE OF APPRENTICESHIP entitling him to carry
on the trade of butcher, we beg that he should be recognized as a
properly taught butcher's, journeyman and everywhere received with
courtesy. In witness whereof this certificate of apprenticeship is
awarded him by the undersigned and under the Guild Seal Ordinary.
On the 2nd November 1856.

Jan Roubal Jan Warsky, Frantz Ekert,

Josef Bjlej,
Certified Master,

Jan Bity
Building Master and Teacher.

In the years 1854-1856, in the little town of Zlonice by Slan^ in Bohemia, Dvorak
learned the trade of butcher and was, at the same time, a pupil of the organist Antonm
Liehmann (see 4). There he continued with his violin lessons and acquired his first
knowledge of piano and organ. He then spent the school-year 1856-57 in Ceskd
Kamenice, where he improved his German and went on with his musical training.

4. DVORAK'S TEACHER IN ZLONICE

The Zlonice choir-master, Antonm Liehmann, whose name
has been saved from oblivion through its link with the name of
Dvorak, must have been an interesting character if we are to

judge from the Master's description which is as follows: "Lieh-
mann was a good musician, but he was quick-tempered and still
taught according to the old methods : if a pupil could not play
a passage, he got as many cufFs as there were notes on the sheet. . .
He was well versed in harmony-though of course his notions
of harmony were different from those of the present day and
he had a good grasp of thorough bass : he could also read and
play figured bass fluently and taught us to do the same. But it
often happened that where there were more figures, and among
them several with strokes, before you could work it out you had
received three boxes on the ear..."

From a book of recollections gleaned from Dvorak's own telling ("Z Dvorikova
vypravSnf") by Josef Michl, one of Dvorak's pupils at the school of composition in the
Prague Conservatoire, who wrote a number of delightful recollections of Dvofik as
a teacher. Antonin Liehmann (1808-1879), teacher, organist and choir-master in Zlonice,
a good country musician and composer. It was chiefly thanks to his influence that
Dvofik was able to give up the butcher's trade and devote himself to music as a pro
fession (see also 3).

5. RECOLLECTIONS OF DVORAK'S YOUTH

Tonicek (Tony) had scarcely learned to walk when he was
given the apron and hatchet that are the insignia of the butcher's
trade. His grandmother loved the little boy and called him:
"My little toothy", for Antonin, like almost all the members of
the Dvorak family, had very good teeth. His grandmother died,
however, in a few years. As a child, Antonm used to play to the
guests and when he was to give a "concert", what a bustle and
to-do there was with the preparations. My cousin Frantiska
helped my aunt in the business at that time and used to relate,
even after the composer's death, what a timid child he was.
Once before one of his concerts he broke a plate and was so upset
about it that it was only with difficulty that he could be consoled.
Here already his highly-strung nervous temperament was appa-

rent. Uncle, however, in accordance with the family tradition,
destined his sons for the butcher's trade; there were five of
them, and then three sisters. But it was mainly due to the in
fluence of his teacher, Liehmann, that Uncle was induced to
release him from following the family calling and to give him to
music. And so it was with respect and gratitude that the teacher
Liehmann was remembered and often called to mind in our
family. When Antonin showed little promise of taking to the
butchery business, Uncle at last resolved to act and took the boy
to Prague. (At that time Uncles used to walk to Prague even
from Veltrusy.)

From that time, Antonin Dvofak was, with only short breaks,
a member of our family till he got married a period of about 1 5
years.

From a book of recollections ("Za Antonfnem Dvofakem") by Anna
Dvorak's cousin, Dvofik lived with her parents in Prague up to his marriage in 1873.
Dvorak's grandmother: Anna D<vordko<vd (1775-1848), a woman of refined disposition
with an artistic taste in embroidery.

6. DVORAK AT THE PRAGUE ORGAN-SCHOOL

Dvorak did not look back on the time he spent at the or
gan-school in Prague with any great pleasure ; in fact the refer
ence he makes to it has a bitter flavour.

"At the organ-school everything smelt of mould. Even the
organ. Anybody who warted to learn anything had to know
German. Anyone who knew German well could be dux of the
class, but if he did not know German he could not be dux. My
knowledge of German was poor, and even if I knew something
I could not get it out. My fellow-pupils looked a little 'down
their noses' at me and laughed at me behind their backs. And
later on they still laughed at me. When they discovered that
I was composing, they said among themselves: 'Just imagine

that Dvorak! Do you know that he composes too?' And all
those who laughed at me got on better than I did. . ."

From the book of recollections by Josef Michl, cited above (see 4) Dvorak
attended the organ-school in Prague, called "The Institute for Church Music" (founded
1830, in the years 1857-59 under the directors Karel F. Pietsch and Josef Krejc'i). The
German regime at the Institute was maintained by KrejcT, -whose classification of Dvorak
is given under no. 7.

7. EXTRACT FROM DVORAK'S REPORT

An excellent but more practical talent. Practical knowledge
and accomplishment seem to be his aim. In theory somewhat
weaker . . .

8. DVORAK'S STUDIES AT THE ORGAN-SCHOOL

. . . Of his studies at the Organ-school Dvorak rarely spoke in
after years. It would seem that the school served him more as a
means towards acquiring the formal training for the title of
musician than the road to his vocation as a composer. Dvorak
never underrated the solid theoretical grounding the Organ-
school gave him, but the highest kind of musical learning he
acquired outside of school.

From "Recollections of Antonfn Dvorak" by Dr Josef Zubatj. Zubaty, later
Professor in the Charles University of Prague, an outstanding Czech linguist (1855-
1931), was an excellent musician and a great admirer of Dvorak, in the first years of
whose rise to world fame he carried out the piano arrangements of orchestral and
chamber works without his name being mentioned in the published editions. He also
wrote Dvorak's first biography (published in German, Leipzig 1881).

9. DVORAK JOINS AN ORCHESTRA

It is 40 years since I applied for membership of the Prague
Musical Society "Cecilie", which was directed by the experienced
conductor, A. Apt, who did much to raise musical standards
in Prague at that time. I joined the "Cecilie" orchestra as a
viola player. "You will play at the same desk as Dvorak," said
Apt, and introduced me to a young man with a mane of typically
tousled, thick black hair. We were both young men of barely
twenty years. Dvorak was a pupil of the Organ-school directed
by the pedagogue, Josef Krejci, with whom I studied privately.
So I began to play with Dvorak, but I can tell you it was no easy
matter. Now my playing did not please him, now he was annoyed
with the next desk, another time he was dissatisfied with the
conductor-or with himself. And now and again he would stop
playing and start humming some scrap of melody to himself.

"Cecilie" was dissolved after being in existence for 25 years
and we did not come together again till November 1862 in the
orchestra of the Prozatimni Divadlo (Interim Theatre), where
he was first viola and I was choir-master. Dvorak had then
already begun to compose smaller pieces songs and musical
entractes .

From the book "From my Memories of the Theatre" by Adolf Gech (1841-1903),
for long years conductor in succession to Bednch Smetana at the National Theatre in
Prague. The St. Cecilie Union, the Prague Choral and Musical Society, founded in,
and conducted from, the year 1840 by the musical amateur, Antonfn Apt (1815-1887),
an enthusiastic admirer of Romantic music The society was dissolved at the beginning
of 1860. Dvofak composed at that time not only songs (the cycle "The Cypresses"
in 1 865) and entractes, but also chamber music, two symphonies (C minor and B flat major)
and other works.

10. DVORAK'S MUSICAL BEGINNINGS

. . . Later a composer of world renown, professor at the Prague
Conservatoire, then director of the New York and later of the
Prague Conservatoire, he enjoyed talking in the intimate circle

of his friends, and with irresistable humour, of his "perform
ances" in his first calling of butcher, of the enthusiastic ado with
which the public greeted the Hungarian Dances, long before
their artistic arrangement by Brahms, as played by the band of
which Dvorak was a member up to the time he and the band
were taken over by the Prozatimni Theatre, or he would relate
how, as organist of St. Catherine's, he improved his knowledge of
the other official language of the country with the help of a
harmless idiot who blew the organ-bellows for him. This period
of Dvorak's life has not a little of the Bohemian flavour, and
this Bohemianism is, I should say, more democratic than artis
tica Bohemianism which possibly explains why Dvorak, in later
years, found relaxation in the popular atmosphere of a beer-
restaurant rather than in the most brilliant salons, or that in
later years, too, he could enter into the spirit and fully appre
ciate the performance of a "tavern sextet", a musical institution
which, for the present generation, is gradually becoming a thing
unknown, but one that, especially on summer evenings, is not
without a certain charm of its own . . .

From "Recollections of Antonin Dvorak" by Joseph Zubatj (see 8). After completing
his studies at the Organ-school, Dvorak played viola in the popular Prague band of
Karel Komzak, which in 1862 became the orchestra of the then newly opened "Proza-
tfmm'" theatre (see ia). Karel Komxdk, popular composer of dance pieces and, later, Aus
trian regimental bandmaster, also acted as organist in the Prague Institute for Mental
Cases where Dvorak sometimes played for him.

ii. RECOLLECTIONS OF DVORAK'S FAMILY LIFE

Dvorak boarded with us alone as we had only one room and
a kitchen. Very soon, however, he had to find some source of
earnings as Uncle, his Father, was not doing at all well, especial
ly after the move to Kladno, and could not give him anything.
Antom'n had breakfast with us and went to an eating-place near

the National Theatre for dinner and supper. His mother saw
to his laundry. In the plum season he would ask Mother to give
him dinner and I still see Mother, in my mind's eye, counting
30 plum dumplings on to a dish for Antonin-of which not one
remained! For a time he had supper at home, too.

Then Mother, who was the life and soul of our household,
rented a larger flat, with two rooms and a kitchen, in the same
house so that she could earn something by taking in lodgers and
from then on Dvorak shared the room with another lodger a
student.

When we moved to "na Kremelci", our third move, to a
flat in the back annex to a house with a garden, Dvorak lived
in a nice three-windowed room with two other lodgers. He had a
piano hired from his tailor at 2 gulden a month, a table opposite
it and behind it his bed. He often composed immediately on
waking in bed, and whenever he got an idea, he played it over
on the eiderdown. When he used to write at the table, he held
the quill in his teeth and played with his fingers on his jacket or
on his legs. After a while he went to the piano and played it
over, singing softly at the same time. When he played in the
orchestra of the Interim Theatre, he often took me with him
to the performance. I used to sit on a chair in the orchestra,
and never had^to be reprimanded twice. I sat there, scarcely
breathing, just taking in all the beauty in great gasps. Often
when he was playing the piano I would creep into the room, go
up to the piano, and beg him for whole quarters-of-an-hour at a
time: "Anton, please take me with you, today, please take me!"
He would fix his eyes on mine, smile, whistle under his breath,
quite unaware, I am sure, of my existence. And then, on coming
down to earth again, he would sudddenly exclaim: "What do
you want?" making me jump with the start he gave me.

My parents were pious folks and said their prayers morning
and evening kneeling. Mother invited young Dvofak to join
them: "Auntie, I like praying best there at the window when
I look out on to the green and at the sky." I never heard

my cousin speak vulgarly, flippantly or indelicately. He was
through and through of noble character, of high morals and his
conduct was without reproach. He never came home late, he had
no female acquaintances and no love affairs, and in our family
they used to say that "Anton was afraid of women". I remember
him saying on occasion: "That's a pretty girl!" but that was as
far as he went. Once the young people of two or three neigh
bouring families arranged a fancy-dress party at our place be
cause we had a piano. They asked Dvorak to join them and play
for them ; but he did not come home at all that night and slept
somewhere else for the first time.

In 1864 Dvofdk went for the third time to the military
call-up and all supposed that the strong young man who had
never had a serious illness would not come back. We had be
wailed his going as if it were a fact and all the greater was then
our joy when he was not accepted.

From Anna DuSkov&'s "Recollections of Antonfn Dvorak" (see 5).

12. DVORAK IN THE ORCHESTRA OF THE CZECH
THEATRE.

By a fortunate chance, walking along the Charles Square in
Prague, I met Mr. Kvafca, the only musician still alive of the band
that was taken over in 1 862 by the Czech Interim theatre. This
is what he related:

Dvofdk was easily roused, quick-tempered and impatient
and used to avoid those colleagues who liked to raise his ire,
and then he played the solo parts on the viola d'amour in "Der
Freischutz" and in "Les Huguenots" very well.

He was too poor to have his own piano and so he went to
KvicV s flat to play over his things. This Mrs. Kvaa did not par
ticularly welcome as he always left his footmarks on the newly-

scrubbed floor. So he took a room where there was a piano at his
disposal, but sometimes he took too great advantage of it for,
when some idea occurred to him in the night, he got up and
played it over so as not to forget it, without considering that the
other people in the flat were asleep. This was the main reason for
his frequent changes of rooms. And also when he lived together
with Anger, he would often monopolize his piano the whole day.

Extract from a letter by Petr MareL Petr Mares and Jan Kvdfa, members of the
orchestra of the Prague Interim theatre in which Dvorak also played viola in the years
1862-1871. Moric Anger (1844-1905), at first violinist in, and then second conductor
of, the Czech Theatre orchestra in Prague.

13. DVORAK AS ORGANIST (I)

Ref. no. 12,327, The Town Council herewith appoints
to the post of organist to the parish church of St. Adalbert,
Antonin Dvorak, teacher of music and composer, resident in
no. 27 "na Florenci", on condition that he should personally
and satisfactorily fill this post, and, at the same time, calls upon
him to take up his duties as from February 1 5th of the current
year, to which end he should report at the parish office.

The Town Council hereby informs the parish office of
this in an appendix to the decree dated 13. January 1874, no.
996, and directs the said office to take Antonin Dvorak into
their service and to report immediately on their having done so
in order that the emolument due to him may be paid out.

The Town Council in Prague, loth February 1874.

Burgomaster: Jos. Hulesch m. p.

In the years 1874-1877 Dvorak held the appointment of organist to the church
of St. Adalbert at a yearly salary of 126 gulden.

1 4. DVORAK AS ORGANIST (II)

The tiny chancel of St Adalbert's. A bunch of singers-
ladies and gentlemen fill it. Josef Foerster, with his goatee,
conducting, stands close to the rail. To catch a glimpse of Anto
nin Dvorak on the organ-bench is difficult. He improvises with
restraint: Stehle, Witt, had also written or so it would seem
the preludes to their masses : so closely did Dvorak keep to their
style in introducing them . . .

Leos Janac'ek: "Recollections of Antonin Dvorak." The well-known Czech com
poser, LeoS Jandcek (1854-1928), the author of the internationally famous opera "Jenufa"
and other operas and compositions, entered into a very warm friendship with Dvorak
during his studies at the Prague Organ-School. He was a very zealous propagator of
Dvofik's compositions especially as conductor of the Philharmonic Society in Brno in
Moravia. Director of the choir at St. Adalbert's was, at that time, the composer and
theoretician, Prof. Josef Foerster (1833-1907), father of the composer Josef Bohuslav
Foerster (see 15). Ed. J. G. Stehle, F. Witt, well-known German composers for the
organ.

15. DVORAK AS ORGANIST (III)

. . . We met every Sunday and every church feast day: Anto
nin Dvof ak, organist of St. Adalbert's in Jirchaf i, and I, chorister
in the same church. When I and the other boys were putting
the music on the desks, renewing strings that had burst,
putting resin on the bows and hanging up the horns and trum
pets on the nails beside the desks, Antonin Dvorak regularly
came in. He paid no heed to anybody, greeted nobody and sat
down straight away at the organ. The organ-bench of the old
instrument was placed at the side, the organist having to follow
the conductor's beat in a mirror above the keyboard and so he
sat with his back to the choir, the conductor and all those taking
part. For that reason I seldom saw Dvorak's face but I recollect
how, as a child, the severe expression of his countenance and the

unvaryingly serious appearance of this man, always deep in his
own strange thoughts, made me feel afraid.

I have already said that nobody had any idea how great an
artist filled the humble post of organist at St. 'Adalbert's. Dvo
rak's improvisation was without doubt correct as regards har
mony and by no means common-place, but did not warrant his
being looked upon as an exceptional talent. I, myself, however,
was not capable of criticizing the Master's playing, but I know
that my Father, who was director of the choral music at St.
Adalbert's, often spoke of it in this sense. . .

At that time nobody knew that the poor organist of St.
Adalbert's, with a monthly salary of 10 gulden, might be found
sitting at his table, in the rare intervals of his leisure, working
hard at a big opera, still less did they guess that he had a number
of scores at home, among them the "Hymnus", to words by
Halek, and that work of genius -"Stabat Mater" which, some
years later, was to make him famous throughout the whole cultur
ed world.

Josef Boh. Foerster.- "Recollections of the organist at St. Adalbert's." Foerster
(1859-1951), one of the foremost of Czech composers, later President of the Czech Aca
demy of Sciences and Arts and National Artist, son of the choir director, Josef Foerster
sen. (see i6).The "Hymnus" see 16. Stabat Mater for solo voices, mixed choir and
orchestra was not written by Dvorak till the years 1876-77 when he was no longer
organist.

16. DVORAK'S FIRST SUCCESS AS A COMPOSER

On the 9th March 1873, "Hlahol" held an extraordinary
concert in the New Town Theatre at which, in addition to a
male choir and orchestra, a choir of 90 ladies appeared for the
first time . . . This concert was remarkable also for the rare nov
elties included in the programme, of which the greatest success
was achieved by the magnificent "Hymnus" of Antonin Dvorak.

C-

,S
"a
o

I I

4~>

C/3

As one of the reporters expressed it: "It carried the whole au
dience off its feet on a wave o; enthusiasm and can, with full
justice, be described as the most brilliant item on the pro
gramme..."

Chronicle of the Prague choral union "Hlahol". The Hymnus, op. 30, for mixed
choir and orchestra, to words from the poem "The Heirs of the White Mountain",
by Vftezslav Halek, was finished on the 3rd June 1872. It is a composition with an
ardently patriotic theme, actively directed against the age-long oppression of the Czech
nation by the Austrian dynasty and one to which Dvorak succeeded in giving appropri
ate musical expression. Its first performance at the concert given by "Hlahol" signified
a decided success for Dvorak among the Prague musical public. The composition was
conducted by the composer and choir-master, KarelBendl (1836-1 896), from his youth
Dvorak's good friend, who helped him at the beginning- of his career by lending him
music and a piano.

17. THE FIRST FAILURE AND SUCCESS OF DVO
RAK'S DRAMATIC MUSIC

. . . But once there was great excitement in the choir of St.
Adalbert's. One of the members of the choir, who was at the
same time a member of the Czech opera, brought the news:
Dvofak has handed in an opera. It seemed almost unbelievable
but nobody had the courage to ask the presumed author.
Shortly afterwards a notice appeared in the daily press. It was
really true. Antonin Dvorak had presented the Czech theatre
with an opera in three acts "King and Charcoal Burner".

It was a long time, I can still remember, before they began
to study the work, or at least it seemed so to us who were very
curious to know what Dvorak's opera music would be like. At
last the time came but the answer we got was not satisfactory.
Nothing about whether the music was good, characteristic,
suited to the theme or whether it had dramatic verve. Nor did
the news improve-till one day things came to a head and there
befell a catastrophe which would have spelt defeat for any merely

average talent. The theatre returned the score to the composer. . .

I do not know how Antonin Dvorak took this heavy blow
of fate, I only remember that we were all very sorry for him.
Without having any proper idea of the severe spiritual and
nervous strain which is required to produce a 3~act opera, quite
apart from the immense physical labour, we yet felt sincere
sympathy for the poor, silent organist in whom we sensed a
being different from the common run, but essentially good.

And even then Dvofak showed all those who had eyes to
see his uncommon greatness. The critical moment found him
strong and resistant to the hardest blows of fate. Though
depressed by family troubles, he did not lose courage. He con
signed the rejected score to the flames of his poor man's fire
and began to write again. In less than a year, I think, he
submitted to the theatre a new version of "King and Charcoal-
Burner". And then it was not only rehearsed but also produced.

In the choir of St. Adalbert's the reports grew more favour
able from Sunday to Sunday, and the more the work on it pro
gressed, the greater was the appreciation and admiration-
people talked of the surprising wealth of melodic beauty, of the
dramatic tension of the principal scenes, of the splendid handling
of the themes and polyphony. And when the first performance
was over, we all knew that in Antonin Dvorak there was
growing up for Czech art one of the rarest of the rare, an artist
called and chosen...

Josef B. Foerster (see 15). "Recollections of the Organist of St. Adalbert's."
opera "King and Charcoal-Burner", the second of Dvorak's musico-dramatic "works, of
whose failure Foerster here speaks, was written in 1871. Xhe report that Dvorak
destroyed this opera proved to be erroneous, for it was found long after the composer's
death and produced at the National Theatre in Prague on May 28th 1929. The
completely new musical rendering of the same libretto from the first version of which
not a single bar was taken over, was written in 1874 and its first performance took place
at the Prague Interim theatre on the 24th November 1874. The plot of the opera
is the relatively naively handled story of a Czech King of long ago who when hunting
lost his way in the deep forest where he made the acquaintance of a poor charcoal-
burner's family. He did not reveal himself till his return to the Prague Castle to
which he invited them on learning that unknowingly he had caused dissension between
the charcoal-burner's daughter and her jealous lover.

1 8. A STATE GRANT

To the Town Clerk.

Dear Sir, I should be obliged if you would be good enough
to furnish me with a certificate in German confirming that I am
without means, as such a certificate must be enclosed with my
application for the award of a State grant for artists, such
application to be sent in by the 3Oth instant at the latest.

Prague, I5th June 1874.

Ant. Dvorak m. p.

Certificate confirming that Antonin Dvorak, teacher of
music, resident at no. 1364, is without means.

The Town Clerk's Office of the Royal Capital of Prague
hereby confirms, for the purpose of gaining a State grant, due
official investigation having been made, that Antonin Dvorak,
teacher of music, born in 1841, married and father of one un
provided child, has no property, and that, except for a salary of
126 gulden which he receives as organist of the Church of St.
Adalbert and 60 gulden which he earns monthly by the private
teaching of music, he has no other source of income.

Prague, 24. 6. 1874.

Elk m. p.

In 1874 Dvorak sent in his first application for an Austrian State grant which the
Ministry of Education at that time awarded every year to "young, poor and talented
artists" (poets, artists and musicians). Adviser to the Musical Department of the Ministry
was the musical theoretician and, for many years, musical critic of the Vienna daily "Die
Neue Freie Presse", Dr Ed. Hanslick (1825-1904); other members of the adjudicating
board were Johannes Brahms, then shortly afterwards, Dvorak's loyal friend and
director of the Vienna Hofoper, Johann Herbeck (1833-1877). Dvorak received the
grant for five years in succession and it was a very welcome contribution to the upkeep
of the poor household he had founded on his marriage, at the end of 1873, to Anna
Cermdkovd, the daughter of a Prague goldsmith and a very efficient alto. The fir st three
children of this marriage, a son and two daughters, died in early infancy.

1 9 . FIRST STEPS TO WORLD SUCCESS

. . . Many years ago, when Dvorak was at the beginning of
his career, Mr. Kavan brought Dvofak to our house, wishing,
as he said, to recommend "a young and talented musician" as
his successor in teaching pianoforte in our family. We then
spent many an agreeable evening playing and singing. We
were specially fond of vocal duets which Dvorak obligingly
accompanied. Only the limited choice annoyed us not a little.
We got tired of the hackneyed repetition of Mendelssohn and
other German composers. My husband, an ardent Moravian,
once remarked to Dvorak in passing: "Wouldn't it be possible
to compose some duets from our own music, for instance from
Moravian folk-songs ?" "Why not ?"-replied Dvorak. "Look out
some nice texts and I shall do the rest." No sooner said than
done. Our governess borrowed Susil's Collection and made her
own selection of about 15 songs. Dvorak promised to write
a second part for them and a piano accompaniment. In a few
days, however, he announced that he had changed his mind.
"I won't do that," he said, "if you like I'll write duets in my own
way but I won't write a second part for these things." Nobody
had any objection and Dvorak set to work according to his own
ideas and composed his famous "Moravian Duets". He dedicat
ed them to me and to my husband as a token of our friendship.

When I went over them for the first time and praised them,
the young composer sighed: "A pity I haven't the wherewithal.
I'd like to have them published." Whereupon my husband's im
mediate rejoinder was : "Now wait a bit, I shall see about getting
them published, and, if you agree, half the edition will be
yours and half mine, and we shall each be free to do what we
like with our copies." Dvorak gladly agreed. The Moravian
Duets were lithographed at Starf' s, a number of copies we kept
for ourselves and for our friends while Dvofak received the re
mainder. Once, in his absence, it was decided to have a number
of copies exquisitely bound and sent to the most outstanding

musicians, musical critics and patriotic Czech personalities. We
did so without asking Dvorak as we knew that he would not want
to give his consent ... The Duets were sent to Brahms and Hans-
lick, a man whose word carried the greatest weight in our part of
the musical world, while the Slavonic world was represented by
Bishop Strossmayer and others. Strossmayer received the Duets
with a patriotic note, Brahms and Hanslick with the respectful
request that they might accept them and give their criticism.
And all this without the slightest inkling on the part of our
unsuspecting composer. . .

A reminiscence by Marie Nejffovd, wife of the Prague businessman, Jan Neff, a
native of Moravia, a great lover of music and singing and a generous patron of Moravian
students. The famous Moravian Duets, composed on texts of folk-poetry, were written
as op. 32 between May and July 1876. The texts were taken from the comprehensive
and admirable collection of "Moravian National Songs with Music and Texts" which
was compiled and published by the Moravian priest and collector, Frantisek Suftl, in
1860. The Moravian Duets were published by F- Simrock of Berlin at the beginning
of 1878 as Dvorak's first work to be published by this big firm of music publishers. It
was these Duets which, as the fruit of a peculiarly individual stylisation, typically folk-art
in spirit yet realized with the expressive means of art music, founded the reputation of the
Czech composer also abroad. Emanuel Starj, the founder of the first Czech music
publishing firm. Bishop Josip Strossmayer, an outstanding leader of the Croatian national
movement and friend of the Czech nation (1815-1905).

20. DVORAK GIVES UP HIS POST AS ORGANIST

Ref. no. 134, 724. Mr. Antonin Dvofak, organist to the
church of St. Adalbert, has informed the Town Council that
he is giving up this post and asks to be relieved, at his own
request, of his duties as from i5th February 1877. The Town
Council accept his resignation and direct the parish office to
cease making payment of salary to the above-named organist as
from 1 5th February 1877.

The Town Council of Prague, 2nd January 1877.

Burgomaster: Em. Skramlik m. p.

21. THE BEGINNINGS OF A FRIENDSHIP

Prague 3. 12. 77. Zitnobranska 10. II.
Honoured Sir,

I have lately received a letter from the esteemed Prof. Dr.
Hanslick in which he informs me that at a recent session with
His Excellency, Minister Stremayer, I was, on your kind recom
mendation and that of the Professor, awarded a grant for artists.

At the suggestion of the esteemed Prof. Hanslick, I venture
to address these few lines to you, honoured Master, in order to
express to you my deep-felt thanks for the kindness you have
shown me.

What I count a still greater happiness, however, is the
sympathy you have been good enough to accord to my modest
talent and the favour with which (as Prof. Hanslick tells me)
you received my Czech vocal duets. Prof. Hanslick now advises
me to procure a German translation of these songs which you,
dear Sir, would be so kind as to recommend to your publisher.
It is my duty to address myself to you with one more request-
that you should be good enough to be of assistance to me in
this matter which, for me, is of such great importance. It would
be, indeed, not only for me but also for my beloved country, of
immeasurable value if you, honoured Master, whose works
delight in such great measure the whole musical world, would
give me such an introduction.

With the earnest request that I may continue in the future
to enjoy your highly valued favour, I beg your kind permission
to forward to you for your inspection some of my chamber music
works and compositions for orchestra.

I have the honour to be,

Your most respectful and devoted

Antonin Dvorak.

Dvorak to Brahms in Vienna. For note on Brahms and Hanslick see 18.
Karel Stremayer, 1870-1879 Austrian Minister of Education. The two-part Czech
songs referred to here are the Moravian Duets, see 19. Brahm's publisher. Fritz
Simrock (see 19 and 22-23).

22. BRAHMS'S FIRST REPLY

Dear Sir,

Allow me quite shortly to thank you for your lines and for
the great pleasure I have derived from the works you sent me.
I have taken the liberty of writing about them, and especially
about the "Duets", to Mr. Fritz Simrock (Berlin, W.Friedrich-
strasse 171).

From the title it would appear that the Duets are still your
property, in which case you could sell them to Mr. Simrock.
The only thing that is needed is to get a good German transla
tion. Can you manage that ? In any case I beg you not to rush the
matter so that the work may not suffer in consequence. In the
meantime you could perhaps send the folio to Mr. Simrock to
have a look at ? The rest will then follow.

Forgive my being in haste today but I should not like to
have the matter delayed. Hoping to hear further from you and
favourably,

I remain,

Your very respectful and entirely devoted

J. Brahms.
Vienna IV, Karlgasse 9.

Brahms to Dvordk in Prague, December 1877. Fritx Simrock (1837-1901), m the
years 1864-1901 proprietor and head of the big music-publishing firm in Berlin, now
no longer in existence. He was the publisher of Brahm's works and Dvorak's principal
publisher. On the publication of the Moravian Duets by Simrock see 19.

23. BRAHMS RECOMMENDS DVORAK TO SIMROCK

Dear S.

In connection with the State grant, I have for several years
past had great pleasure in the works of Antonin Dvorak (pro
nounce Dworschak) in Prague. This year he sent in, among

other things, a volume (10) of "Duets for 2 sopranos with piano
accompaniment", which seems to be very suitable and practical
for publication. The volume appears to have been printed at the
composer's own expense. The title and, unfortunately, also the
texts are in Czech only. I have advised him to send you the songs.
When you play them over you will be, like I was, delighted, and
as a publisher you will be particularly delighted with their pi
quant charm. It would be necessary, however, to really see to
getting a very good translation. Now there are quite a number
of texts translated by Wenzig (who died a short time ago).
Failing that there is Dr. Siegfried Kapper in Prague, who might
be suitable for the purpose. Dvorak has written all sorts of
things, operas (Czech), symphonies, quartets and piano music.
There is no doubt he is very talented. And then he is also poor.
I beg you to think the matter over. The "Duets" won't give
you much thought and will possibly sell well. The address is:
Praha, Zitna ulice no. 10, II...
With best greetings.

Yours,

J. Br.

Brahms in Vienna to Simrock in Berlin, iz XII. 1877 See preceding letter.
Dvorak lived in no. 10 2itn ulice (Praha II, 564) from 1877 till the artist's death
in 1904.

24. DVORAK THANKS BRAHMS

Praha, 19. 12. 77.
Honoured Master, Zitna ul. ro/II.

I beg you to accept my apologies for not having been able
to thank you sooner for your highly esteemed letter which
I received late owing to my absence for some days from Prague.

Allow me, dear Sir, to express once again my most humble
thanks for all that you have done for me.

As regards the German translation of my songs, I am glad
to be able to inform you that it is already completed. I therefore
take the liberty of sending you a copy for your kind inspection.
I have also sent a copy to Mr. Simrock.

As soon as I have any further news, I shall not fail to com
municate with you.

May this letter of mine be an auspicious one and may I
soon have the pleasure of assuring you personally how sincerely

I am,

Your deeply obliged and most devoted servant,

Antonin Dvorak.

The Moravian Duets were translated by the Czech composer, Josef Srb-Debr-
nov (1836-1904).

25. DVORAK DEDICATES HIS QUARTET TO
BRAHMS

Praha, 23. i. 78.
Honoured Master,

About three weeks ago I set out on my intended jour
ney to Vienna in order to thank you personally for all the kind
ness you have shown me. I was very sorry that I was not fortun
ate enough to see you before you left for Leipzig. I took the
opportunity to visit Prof. Hanslick who received me very cordial
ly. At his request I left a number of my compositions with your
housekeeper and beg you, if you are already back in Vienna, to
be so good as to look them through. At the same time I take the
liberty of inquiring whether you received the Duets with the
German translation and whether it is good.

Mr. Simrock wrote to me a few days ago. He will be pleased
to publish the Duets, only a number of places must be changed
for the sake of declamation.

I have further the honour to inform you that your splendid
D minor Concerto was performed at a concert given recently
here in Prague and was extremely successful.

And now I venture, highly honoured Master, to approach
you with a request. Permit me, out of gratitude and a deep re
spect for your incomparable musical works, to offer you the
dedication of my D minor Quartet.

It would be for me the highest honour I can aspire to and
I should be the happiest of men to have the honour to subscribe
myself as bound to you in eternal gratitude and
Your devoted Servant,

Antonm Dvofak.

At the beginning of January 1878, Brahms left Vienna on a concert tour of a
number of German towns (Leipzig, Hamburg, Bremen) and of Holland, where for the
most part he conducted his first Symphony in C minor or what was his second and new
Symphony in D major. Dvorak dedicated to him his String Quartet in D minor,
op. 34, composed between the 7th and i8th of December 1877.

26. BRAHMS ACCEPTS THE DEDICATION

Dear Sir,

I regret extremely that I was away from home when you
were here. The more so as I have such an aversion to letter-
writing that I cannot hope to make up for it in the least by
correspondence. And, today, no more than to say that to occupy
myself with your things gives me the greatest pleasure, but that
I would give a good deal to be able to discuss individual points
with you personally. You write somewhat hurriedly. When you
are filling in the numerous missing sharps, flats and naturals,
then it would be good to look a little more closely at the notes
themselves and at the voice parts etc.

Forgive me, but it is very desirable to point out such things
to a man like you. I also accept the works just as they are very

gratefully and consider myself honoured by the dedication of
the quartet.

I think it would be very good if you gave me both the
quartets that I know. If Simrock should not be willing, might
I try to place them elsewhere ?

Accept once more my best thanks for your news
and warm greetings from
Your entirely devoted

J. Brahms.

Brahms in Vienna to Dvorak in Prague, III. 1878. See preceding letter. The two
well-known quartets: E major op. 27 from the year 1876, published later by Simrock
as op. 80, and the D minor quartet, op. 34, which was published by Schlesinger in
Berlin.

27. BRAHMS RENEWS HIS RECOMMENDATION

Dear S.

I am leaving within the next few days with Billroth and
Goldmark for Italy. I shall probably stop in Portschach am See
if it is too hot in Italy. I should not have written if it had not
been for thinking of Dvorak.

I don't know what further risk you are wanting to take
with this man. I have no idea about business matters or what
interest there is for larger works. I do not care to make recom
mendations, because I have only my eyes and my ears and they
are altogether my own. If you should think of going on with
it at all, get him to send you his two string quartets, major and
minor, and have them played to you. The best that a musician
can have Dvorak has> and it is in these compositions. I am an
incorrigible philistine-I should publish even my own works
for the pleasure of it.

In short I cannot say anything more than that I recom-

mend Dvorak in general and in particular. Besides you have your
own ears and business sense to guide you . . .
With kind regards and greetings.

Yours

J.Br.

Brahms in Vienna to Simrock in Berlin, 5. IV. 1878. Prof Dr. Christian Billroth
(1829-1894), the famous Viennese surgeon, an enthusiastic lover of music and Brahms's
devoted friend. Karl Goldmark (1830-1915), German composer, author of the re
pertoire opera "The Queen of Sheba". The two quartets, major and minor: see 26.

28. NERUDA AND "THE PEASANT A ROGUE"

Antonin Dvorak.

Here we present to you the father of "The Peasant a
Rogue". He is father a number of times over, but of all his

O '

children so far we like "The Peasant a Rogue" best. A strapping
youth with sparkling eyes, a springy step and always a song on
his lips. And if we wanted to tell you what the songs are like,
we should again have to make use of a peasant anecdote about
the peasant who was at the Opera for the first time. "One of
them sang so badly that she had to repeat everything twice. "-
The songs in Dvorak's operas are also so "bad" that the un
satisfied audience always has them repeated twice. "God above,
give us more like 'eml" we called out when we heard them for
the first time. It is true, art is not "bread" but it is the wine of
human life-our Czech life needs a good draught of health-
giving wine.

I do not know Dvorak personally or what he is like, but
I imagine him a real musician. That is "a poet of the air" as
they call musicians who care not a fig about what is going on
down here on the earth far beneath them. A creature who is
mightily indifferent as to whether a heller and a groschen are
all that he has left in his pocket. A young man with the conf-

used brain which is attributed to every poet, to every painter
and most of all to the musical tribe all the world over. What
would there be special about him if he was altogether sensible
and everyday.

Just as it is sometimes accounted a fault in a lovely young
lady that she is "too" young it is a fault which (you may be
sure) time will remedy. He is also said to be "ambitious".
Bravo! I could embrace him for that! And then that he works
too much. Let us reproach the ocean that it has "too many"
waves. Once there was a musician and his name was Beethoven.
He is said to have written a great deal, a very deal great. And
when he was lying on his death-bed, he said: "It seems to me as
if I were only at the beginning". May it always seem to Dvorak
as if he were only at the beginning!

Jan Neruda (1834-1891), a celebrated Czech poet, publicist and critic, the
creator of the Czech essay and the Czech feuilleton. An enthusiastic notice of a jokingly
playful character accompanied Dvorak's portrait in the Czech "Humoristicke" listy"
(a satiric illustrated magazine) after the premiere of the comic two-act opera "The
Peasant a Rogue". In this opera a wealthy farmer has sought out a bridegroom for bis
daughter and so opposes her love for a poor youth. Unknowingly the reigning Prince
saves the lovers when his own wife discovers him making love to the girl The opera
was first performed on the z7th January 1878 at the Czech Theatre in Prague and was
published by Simrock, Berlin. Regarding its production on several German stages
see 61, and 62.

29. DVORAK'S FIRST AUTHOR'S FEE

When I first had the opportunity to come into personal
contact with Dvorak, he had already risen above the worst hard
ships. He was no longer dependent on ways of earning a liveli
hood which robbed him of so much time-time that he would
gladly and with such advantage have devoted to his proper work
of composing. All the same he was still far from being a "well-
situated" artist, for his chief source of income at that time was
the State grant for artists which he had received for a number

of years and for which thanks were chiefly due to Brahms as
the then advisor to the Minister of Education in Vienna. But
he was an artist whose name was cropping up ever more fre
quently in the Prague musical chronicle, who was preparing-
again thanks to Brahms-to make his first steps abroad, who
could even at last afford the luxury of having a piano at home-
not his own, to be sure, but on hire. And this existence, such
as the State grant made possible, but which had still to be sup
plemented by the fee from some better-paid music lesson, could
only seem to be the beginning of prosperity for a man so little
pampered by fortune as was Dvorak. How modest were at that
time the claims that Dvorak made on life as the recompense for
so many years of striving and hardship, for so many years of
work devoted to his art, is perhaps best illustrated by one small
incident. I shall not easily forget with what triumph Dvorak,
in 1878, brought to the usual afternoon meeting at our cafe an
envelope in which he had been sent for the first series of Slavonic
Dances the first fee (or first decent fee) he received for published
work; it was, if I am not mistaken, 200 or 250 marks.

Dr. Josef Zubatp (see 8) : "Recollection of Ant, Dvorak" For the first series
of eight piano duets, entitled "Slavonic Dances" op. 46, which was composed between
March and the 7th May 1878 and soon laid the foundations of the composer's fame
throughout the world, Dvorak received from Simrock the fee of 300 German marks!

30. LOUIS EHLERT "DISCOVERS" DVORAK

... I was sitting one day in very had humour buried in a heap
of musical novelties, eye and spirit struggling with the faintness
which so easily overcomes us under the impression of empty,
indifferent, in short, insignificant music when suddenly two
works, by a composer so far unknown to me, engrossed all my
attention: "Slavonic Dances" for four hands and "Moravian
Songs", 13 duets for soprano and contralto, by Antonin Dvofak.

The composer is a Czech, lives in Prague and was, up till a few
years ago, viola player in the Opera there. He has as yet pub
lished very few things, but he is said to have a large number
of compositions ready including quartets and symphonies. This
is all I could find out about him. To put the matter shortly: Here
at last is a hundred per cent talent and, what is more, a completely
natural talent. I consider the Slavonic Dances to be a work which
will make its triumphant way through the world in the same
way as Brahms's Hungarian Dances. There is no question here
of some kind of imitation ; his dances are not in the least Brahms-
ian. Divine Providence flows through this music and that is
why it is altogether popular. Not a trace of artificiality or con
straint. They could be scored straight away, everything is so
effectively and colourfully arranged. To what extent and what
material has been taken over into these compositions from
Czech folk music I do not know ; it is also immaterial. Who asks
on seeing Shakespeare's plays on what old Welsh tale, or on
hearing Schubert's Divertissement a 1'hongroise, on what
Hungarian song, the one or other is based ? Here we are con
fronted with perfected works of art and not perhaps with some
pastiche stuck together from scraps of national melody. As
always among talents of a high order, humour has an important
place in Dvorak's music. Dvofak writes such jolly basses that
the heart of every musician worth the name must laugh within
him. The duets, based on very charming folk-verses, are also
remarkable for their delightful freshness. On reading them
I felt in my heart as if I were watching lovely girls pelting each
other with sweet-scented flowers on which the dew was still
sparkling. I do not say that what we have here is genius, for that
we must await further works, but undoubtedly we have before us
a very pleasing talent. And that is what we are much in need of.
The men who awaken at the present time the greatest interest in
the sphere of music are so terribly serious. I cannot help think
ing how splendid it would be if a musician should appear once
again whom we should as little think of quarrelling about as

about Spring. Whoever finds a jewel on the public highway is
under obligation to report his find. I beg the reader to look upon
these lines from that point of view and from yet another. Any
one who knows how difficult it is to draw the attention of the
public to an artist who has not yet made a name for himself,
should, as far as it is within his power, awaken and encourage
this attention. For, just as all advertisement is repugnant, so
every effort is justified which aims at shortening the gloomy
period of obscurity for real talents.

Louis Ehlert (1825-1884), German writer on music and composer, music critic
of "Die Neue Musikzeitung" in Berlin, lived from 1873 in Wiesbaden. His enthusiastic
notice, published in the "Nationalzeitung", helped Dvorak to rapid recognition in Ger
many. Dvorak out of gratitude dedicated to him his Serenade for Wind Instruments in
D minor, op. 44, which he composed in January 1878.

31. LOUIS EHLERT TO DVORAK

Wiesbaden 27/11 78
Dear Sir, IO > Frankfurter Str.

I knew very well that my notice in the Nationalzeitung
would give you pleasure and be of service to you, but all the
same I was pleasently touched that you should confirm it ...

In Berlin my critique produced a positive "run" on the
music shops and, I can say without exaggeration, made you
a name over night. Heaven grant that the high opinion I have
of your talent may be fully confirmed.

In me you will always find a man who will back the ful
filment of this hope with his whole, if inconsiderable, influence.

If you have a picture of yourself, send it to me. One likes
to know what the person in whom he takes an interest looks like.

With kind regards,

I am, Yours very sincerely,

Louis Ehlert.

See 30.

4 8

3. Facsimile of a page from the manuscript of the first String
Quartet in A major.

4 Antonm Dvorak (c 1872)

32. BEDRICH SMETANA ON DVORAK

... At the time the score of the Slavonic Dances was being
published in Berlin, Smetana happened to be in Prague and
was staying, as always, with his devoted friend, J. Srb-Debrnov
in Jirchari. Smetana expressed sincere pleasure at our Czech
music making an impression abroad but at the same time in
dicated his regret that he did not know the things and remarked
that "the young composers should at least show old Smetana
their published work" even though he could no longer hear it.
His wish was granted through the kind offices of his friend Srb
and the next day Smetana was able to look through the score of
the Slavonic Dances. I was present when Smetana unreservedly
praised the work: among other things he said that in this work
Dvorak handled his themes "in a truly Beethoven-like manner".

From an article by the noted Czech zoologist, Dr. Frantisek Bayer (1854-1936).
Bedfich Smetana (1824-1884), the founder of modern Czech music and author of the
world-famed opera "The Bartered Bride". Slavonic Dances see 29. Srb-Debrnov
see 24.

33, DVORAK'S FIRST VISIT TO BERLIN

Dear Friend,

I arrived in Berlin on Tuesday and went straight to Simrock
who was expecting me. I had not been here more than a few
hours before I had spent among the foremost artists so many
happy and agreeable moments that the memory of them will
remain with me for the rest of my life.

Joachim had been looking forward eagerly to my arrival
and held a soiree for me at 7 p. m. at which my new quartet and
sextet were performed. How they played everything and with
what understanding and enthusiasm, I cannot tell you now. But

I shall tell you all about it when I come to see you again at
Sichrov. That will be on Saturday without fail.
Goodbye for the present,

Yours, A -p. v/1

Ant. Dvorak.

Dvorak to Alois Gobi. Gobi (1841-1907), secretary on the estate of Prince Rohan
in Sychrov by Turnov in Bohemia, an excellent singer and Dvorak's very intimate
friend from the time of his membership of the Interim Theatre orchestra till the artist's
death Josef Joachim, director of the Musikhochschule in Berlin, a famous violinist who
often gave concerts in England and leader of his own Quartet, with which he gave first
performances of Dvorak's Sextet in A major, op. 48 (from the year 1878) and Quartet
in Eflat major, op. 51 (1879) in Germany and England.

34. EHLERT ON THE SEXTET AND QUARTET

Wiesbaden 19/10 79
Dear Sir, 2 4? Frankfurter Str.

Just a word to tell you that in your Sextet and Quartet
I have found works such as I would always wish to have from
you. They are masterly compositions worthy of the highest
respect. Friend Rebicek would like to perform them here and
I can tell you even now with prophetic certainty that they will
go round the world.

I felt I must say this to you and, at the same time, assure
you of the great pleasure it gives me to do so.

Yours sincerely,

Louis Ehlert.

Your III. Rhapsody is being performed here today, at my
request. The rest of them later.

Louis Ehlert to Dvorak in Prague (see 30). Josef Rebtfok (Rebicek), violinist,
graduate of the Prague Conservatoire, at this time leader of the Hoftheater orchestra
in Wiesbaden where he was later Kapellmeister and from 1897-1903 conductor of the
Philharmonic Orchestra in Berlin. I/I. Slavonic Rhapsody (op. 45 no. 3), composed
at the end of 1878.

35. DVORAK WELCOMES BRAHMS'S CRITICISM

Honoured Master, Pra S ue > '* X ' 79-

During your last stay in Prague you were so kind as to
draw my attention to a number of things in my works and I must
be very grateful to you for it as I have since found many bad
notes which I have put right.

I found myself obliged, especially in the D minor Quartet,
to change many things since you were good enough to accept the
dedication of the work; for it was my sacred duty to present
to so great a master a work which conforms, if not in every re
spect, at least (forgive my lack of modesty) in many, to the de
mands which may be made on a work of art. How happy
I should be if I knew it confirmed by your penetrating eye.
I hope that it may.

And so I remain, with the expression of my profound
respect for your genius, Your ever grateful

Antonin Dvorak.

Dvorak to Brahms in Vienna. String Quartet in D minor, op. 34 (see 25).

36. BRAHMS TO DVORAK IN REPLY

Dear Sir,

I should like to tell you only quite briefly that the rehearsals
of your new works have won you the sympathy of the musicians
here in quite an extraordinary measure.

So, for instance, yesterday at Hellmesberger's with the
"Sextet" and the "Quartet". Hellmesberger is now extremely
anxious to play through your two previous quartets, for this
time his programmes are not, as formerly, laid down in advance.

5 1

If you can spare the score and parts, would you be kind
enough to send them ?
With best greetings,

Your entirely devoted T ^ .

J J. Brahms.

Erahms to Dvorak in Prague, X. 1879. Josef Hellmesberger, sen. (1828-1893)?
teacher of violin at the Conservatoire in Vienna, leader of the Hofoper orchestra and
leader of his own well-known Quartet. For the Sextet and Quartet see nos. z6 and 33.

37. DVORAK MAKES THE ACQUAINTANCE
OF HANS RICHTER

Dear Friend,

...Only a few lines to tell you that I have just been to
Vienna after receiving a telegram from Richter; I set out last
Friday and was present at the performance of my III. Rhapsody,
which was very well received and I had to show myself to the
audience. I was sitting beside Brahms at the organ in the
orchestra and Richter pulled me out. I had to come out. I must
tell you that I won the sympathy of the whole orchestra at a
stroke and that of all the novelties they tried over, and there
were 60 as Richter told me, my Rhapsody was best liked. Rich
ter actually embraced me on the spot and was very happy, as he
said, to know me and promised that the Rhapsody would be
repeated at an extraordinary concert in the Opera Theatre.

I promised to come to the performance of the Serenade and
had to assure the Philharmonic that I would send them a
symphony for the next season. The day after the concert, Rich
ter gave a banquet at his house, in my honour so to speak, to
which he invited all the Czech members of the orchestra. It was
a grand evening which I shall not easily forget as long as I live.
It was something like the one at Joachim's in summer.

The criticisms in the Vienna papers were good except for

one or two. I have kept the cuttings for you. Dr. Hanslick has
not written yet but I went to see him and he said he liked it very
much and was also at the general rehearsal with the score so
that it must have interested him a good deal. He is going to
write a longer article about me and so sent to Prague for some
biographical data. And something more of interest. This III.
Rhapsody is being played most of all : it has already been given
in Berlin, Dresden, Budapest, Vienna, Carlsruhe, Minister,
Wiesbaden etc. and, will be performed in London very soon.
I cannot write any more just now and so I close with friendly
greetings and a hearty embrace.

Yours Antonfn Dvofak.

18 23/11 79.

I was also invited to visit the Director of the Hofoper,
Jauner, who asked me to let him know about the performance
of Vanda^ that he was coming to Prague and would like to present
it at the Hoftheater. Brahms recommended me to him very
warmly. That would top everything if they were to perform my
opera in Vienna! What?!

Dvorak toAloisGobl at SycAro e v(st& 33). Hans Richter (1^,^-1^-16], a distinguished
German conductor, in the years 1875-1897, Kapellmeister of the Hofoper in Vienna
and conductor of the Vienna Philharmonic, at the same time guest conductor at the
Philharmonic Concerts in London and elsewhere. Dvorak's good friend and an especial
ly ardent propagator of his works. He performed the III. Slavonic Rhapsody (see 35)
with the Vienna Philharmonic on the i6th November 1879. At Joachim's (see 33).
F. j'<2r(i832-i9oo), at this time director of the Hofoper in Vienna. The opera "Van-
da" was not performed in Vienna.

38. DVORAK AND JOACHIM

Dear Mr. Dvorak,

I have just received by post your parcel with the Violin
Concerto, and even though I shall not be able for some days to
have the enjoyment of it for various performances and a journey

to Frankfurt, still I must write now to thank you for the honour
you have done me in dedicating it to me. My warm interest in
your true musical blood, of which I have tried to give proof by
the most careful and finished performance of that lovely work
of genius, the Sextet in A, has enhanced for me the value of
your dedication and of the feeling of professional friendship
which dictated it. I shall now do what I can to strengthen it by
showing the sincerity you desire and am looking forward to
going through your work very soon and con amore.
In the meantime I remain,

Most respectfully and devotedly Yours,

Josef Joachim.

Joachim to Dvordk in Prague, 2. XII. 1879. The celebrated Violin Concerto in
A minor, op. 53, was written by Dvorak for Joachim to whom he also dedicated it. Joa
chim made some alterations in the solo part but himself never played it in public. Be
cause of discussions dictated by consideration for Joachim's views, the revision of the
Concerto dragged on from July 1879 till October 1882.

39. DVORAK TO SIMROCK

Dear Mr. Simrock,

You ask me what I have written new. Well, not much, but
still something.

I have so far two volumes of new Waltzes and Eclogues for
piano (two hands). Should you be counting on these things, be
good enough to let me know. Or would you rather wait till
I come to Berlin ? I expect the Waltzes to be quite a success.

With the Slavonic Dances we could perhaps wait till
autumn. I feel now the need to write something serious. A Trio
or a Violin Sonata-that would be what I shall need to keep me
in good humour.

Becker writes me of the great successes achieved by the
Quartet. He played it in Hannover, Halle, Hildesheim etc.

In Hamburg, too, where it was played by Bargheer, it was great
ly appreciated. The criticisms were good.
An revoir very soon.

With greetings from
1 8 1 6/2 80. Antom'n Dvorak.

Simrock see 22. The eight Waltzes for pianoforte solo, op. 54, were written
in December 1879 and in January 1880; the four Eclogues followed immediately and
were completed by the yth February, 1880. Simrock published the Waltzes at once,
but the Eclogues first appeared in 1921 when they were published by the "Hudebnf
matice" in Prague. The success of the first series of Skvonic Dances, op 46, induced
Simrock to urge Dvorak to write a second series He had, however, to wait for them till
1886 (see 96-97) Dvorak did not then write a piano trio, but he did write a sonata
the Sonata for Violin and Piano in F major, op. 57, composed between the 3rd and i7th
March i8&o.-Jean Becker (1833-84), leader of the well-known Florentine Quartet,
at whose request Dvorak composed the "Skvonic" string quartet in E flat Major, op.
$i.Karl Bargheer (1831-1902), leader of the Philharmonic and professor at the Con
servatoire in Hamburg.

40. DVORAK AND LEGS JANACEK

Dear Friend,

I had made preparations to go to Leipzig last week. Brahms
and Joachim were here, however, and besides a new presenta
tion of Vanda was being given and so I was unable to get
away. I think, however, that I shall come on Saturday or Sunday
for sure.

I should like to hear a Gewandhaus concert. Next Thursday
will probably be the last concert, is it not ? Please meet me at the
station. I shall come either on Saturday evening or on Sunday
forenoon. If I stop in Dresden, I shall wire you.

Au revoir, v-,

Yours Dvorak.

Dvorak in Prague to Leosjandfek in Leipzig, 19 II. 1880. Leos" Janaek (see 14),
who was studying at the Conservatoire in Leipzig in the year 1879-80, informed Dvorak
that Karl Reinecke was going to give two Slavonic Dances at the Gewandhaus concert
on the 23rd February 1880. - Brahms and Joachim gave a concert m Prague on the
nth February 1880. - The opera "Vanda" was performed by the Czech Theatre under
new direction on the 1 3th of the same month.

4 i. AT JOACHIM'S IN BERLIN

1 8 1/4 80.
Dear Friend,

I must tell you that I arrived in Berlin safely and experi
enced many happy moments. Yesterday I played the Sonata
(among other things) with Joachim and he was very delighted
with it. Today the quartet is playing and I am greatly looking
forward to it. Tomorrow we shall go through the Concerto
really properly.

Scarcely had I returned-and there were these "danged"
proofs waiting for me.

My warm greetings to you and all the other gentlemen.

Yours

Ant. Dvorak.

Dvorak from Berlin to Gobi at Sychrov. The Sonata for Violin and Piano in F
major, see 39. The reference is to the Violin Concerto, see 38.

42. DVORAK VISITS EHLERT IN WIESBADEN

7 a. m. in Wiesbaden,
Dear Friend, !8 18/8 80.

I have been here in Wiesbaden two days already and like
it very much. I happened to meet Rebicek near the Theatre so
that I did not need to look for him long, for which I was glad.
Ehlertj whom I really came here to' see, was not at home: we
had to take a carriage to Falkenstein where he is spending the
summer with his wife (a very charming lady) because of her
poor health. On Thursday we were invited to his house for

dinner. When I (D. V.) come to see you again I shall have a
great deal to tell you, and I am looking forward to it.

Yours TW v,,

Dvorak.

At the moment I am sailing down the Rhine to Cologne.

Dvorak to Gobi at Sychr&u. Dvofdk went to Wiesbaden to visit L. Ehlert (see
30). Rebic'ek see 34.

43. DVORAK TO RICHTER

18 28/9 80.
Dear Sir,

I am pleased to be able to inform you that I have just
finished the new symphony, all that remains to be done is the
instrumentation and the copying out of the parts with which
I hope to be finished by the end of the month. You could, there
fore, count on having it by the second or third concert for cer
tain, in which case I would ask you once more to recommend my
new work to your colleagues, for which please accept now my
warmest thanks.

With kindest regard and warm greetings.

Your ever grateful Ant . DvoMk.

Hans Richter see 37. In the first half of October 1880, Dvorak wrote the
Symphony in D major for the Vienna Philharmonic and dedicated it to Richter. It was
actually Dvorak's sixth symphony, but Simrock published it in 1881 as

44. CZECH EDITION OF THE GIPSY MELODIES

Dear Mr Simrock,

I wish to tell you quite briefly that I have just completed
the working out and instrumentation of the new Symphony.

Next week I shall probably be going to Vienna where the
Philharmonic will try it over. I have made every effort to pro
duce a living work which would also give me pleasure.

Now I am going to work at piano duets under the title:
Legends^ and hope to be finished with them next month. In
addition I have several new things for piano which I wish to
give you.

And now I have a request. From what I hear, the Gipsy
Melodies are in lively demand here in Bohemia but with Czech
text. Would it not be possible to publish the vocal parts separ
ately with Czech text, or if you were to publish the whole cycle
with Czech text you would certainly not stand to lose anything
by it, and you would give me great pleasure, as it is an attention
I am due my countrymen to make it possible for them to sing
my songs in the Czech language.

Please write me what you think about it.

With kindest regards.

Your ever devoted

Ant. Dvorak.

The new symphony is that in D major (see 43). The "Legends" for piano
(four hands), op. 59, were written between February rath and March 22 1881. The
songs entitled "Gipsy Melodies", op. 55, to words by the Czech poet Adolf Heyduk (1835-
1923), composed between January iSth and February 23rd 1880, were published by
Simrock at first with German text only. He granted Dvorak's request, however, and
in February 1881 the songs came out with Czech text and an English translation (by
Natalie Macfarren).

45. RICHTER AND THE D MAJOR SYMPHONY

^ . , Vienna, 18 23/11 80.

Dear Friend, J/

I am in Vienna where I have heard so many lovely things
that I can't even begin to write about them. Richter likes the

Symphony immensely and embraced me after each movement,
and the first performance will be on the 26th.

Then I am off to London. I am returning to Prague, today.
When are you coming, I can hardly wait to see you.

Yours

Dvorak.

Dvorak to Gobi at Syc^rcKo.Dvorak went to Vienna to play over the D major
symphony to Richter on the piano Richter did not, however, perform the composition
till the 1 5th May, 1882, at a concert of the Philharmonic Society in London (see 53 and
54). For postponement of the Vienna performance see 46 and 47.

46. VIENNA PERFORMANCE POSTPONED

My dear Friend,

Forgive me for being so long in letting you hear from me.
Our orchestra has been so overburdened with work lately that
I have put off your lovely composition to the 6th Concert (the
beginning of March), when we shall have enough time to pre
pare your Symphony in a way worthy of it. I have already in
cluded it in my London programme. If you can, entrust me with
the first performance of this magnificent work. In any case, the
months of January and February are, with their carnival enter
tainments, not suitable for serious works, and the few weeks
will pass very quickly.

With kindest regards and Best Wishes for the New Year,
I remain, Your sincerely devoted friend,

Hans Richter.

Richter to Dvordk, XII. 1880 At the concert of the Vienna Philharmonic held
on 26. XII. 1880, the programme consisted of: the first performance of Brahms's Tragic
Overture, then Prelude and Liebestod from Wagner's Tristan, arias from Haendel's
Oratoria "Semele" and Beethoven's Eighth. (See also 47.)

47. DVORAK REPLIES TO RICHTER

My dear Hofkapellmeister, Prague, 1 8 i/ 1 8 1

Nothing could have given me a pleasanter surprise on New
Year's Day than the receipt of your lines from which I learn
that you wish to perform my work at the 6th Concert. I should
in any case have found it almost impossible to come at Christ
mas, which every father of a family likes to spend in the circle
of his dear ones, and then my time was very much taken up with
the first performance of my "Stabat Mater", when I had to be
present at rehearsals. As I said before, I shall be very grateful
to the gentlemen for performing the symphony, even though at
a later date, and emphasize, once more, that I attach the greatest
importance to the first performance being in Vienna under your
incomparable direction.

Till then I remain,

Your ever devoted A -,-, v/1

Ant. Dvorak.

_ Evidently in consequence of a lack of good-will on the part of the responsible
functionaries of the Vienna Philharmonic, Dvorak's D major Symphony -was not per
formed in Vienna after all.

48, A NEW OPERA

... As regards "Dimitri", Father wished me to take it from
Sebor and to give it to someone else, both he and Mayr thought
to Dvorak. Jefabek, in the meantime, had read my libretto and
I asked him to return it to me and then Mayr gave it to Dvorak
to read . . . Mayr then came with the news that Dvorak liked it
very much and had asked Mayr if he could speak with the gen
tleman-librettist. Ma^r, who had not at first divulged whom the
libretto was by, replied that the librettist wore skirts: where-

upon it was arranged that Dvorak should come to see us on the
forenoon of January 6th -Epiphany... Dvorak arrived on the
appointed day and Father had a long talk with him. Dvorak
once more asked to have the libretto and then came to see me
a number of times to discuss various things etc. Dvorak showed
it to some of his friends . . . Now I must make the changes for
Dvorak and I am somehow out of humour with it-unpleasant
work . . .

From the Diary of Marie Ger-uinko^d-'R.iegeryvd, January 1881. Marie Cer*uin-
kwd (1854-1895), daughter of the eminent Czech political leader, Dr. Frantisek L.
Rieger, was the author of the libretti of Dvorak's operas "Dirmtri" and "The Jacobin".
The Libretto of "Dimitri", whose plot is a continuation of that of Mussorgski's opera
"Boris Godunov", and is taken from the same historic period of anarchy which followed
Boris's death during the reign of the Pretender, the false Dimitri, was originally written
for Dvorak's friend, Karel Sebor (1843-1903), but when the latter had long deferred the
work of musical composition, the author offered it to Dvorak. His "Dimitri" was com
posed in the years 1881-2 (completed on the i6th August 1882).

49. DR RIEGER ON DVORAK

. . . Dvorak is a musician through and through and creates,
like all real talents, almost unconsciously. I am glad that he has
taken to your libretto. Everything one can learn has always had
much smaller value for me than what we have from our mothers.
I am looking forward to your "Demetrius", with Dvofak's
music, making its way out into the world very soon . . .

Dr. Frantzseb L. Rieger to his daughter, Marie &er<vinko<vtL, 3. V. 1881. See 48.

50. DVORAK'S PERSONAL APPEARANCE

The figure of Antonfn Dvorak was a somewhat unusual
one. He used to come to our musical meetings at Urbanek's

shop quite often, but irregularly, and both Urbaneks showed
him the honour due to his importance. Even then (c. 1881), he
was Smetana's acknowledged successor and a very fertile com
poser on the way to world fame.

Dvorak was interesting as a person he was at that time
about 40. Not very tall, rather thick-set, but restless, unable to
stand still a minute. His face not over-refined, but so distinctive
that you could not but remember it. Dark-complexioned, with
a short, tousled beard which sometimes stood on end ; features
rather sullen with two vertical furrows above his nose. His
brown eyes kept wandering abstractedly and had a far-away
expression. Later Dvorak wore a pince-nez for reading but
perched it almost on the end of his nose beside a wart. He rarely
took off his outside coat even in winter and kept his hat a bowler,
on his head. Only occasionally, when engaged in conversation
about musical matters, would he take it off mechanically and
put it down somewhere, but in a little while he put it on his
head again.

From the Memoirs ofL. K. Zixka (1864- ) a Prague bookseller and -writer -who, in the
years 1881-91, -was shop-assistant in Fr A. Urbanek's music-shop beside the Czech
National Theatre, -where the musical fraternity, including Dvorak, used to meet for a
chat and to look through the musical novelties. The extract is from the book "Masters
Great and Small, Recollections of Czech Musicians" Both Urbaneks: the leading
Czech music publisher, FrantiseJi A. Urbdnek (1842-1919) and his brother Velebin Urbd-
nek (1853-1892) his partner, editor of the music magazine "Dalibor" and later agent for
some of Dvorak's concerts.

51. FURTHER SUCCESSES

18 3/10 81.
Dear Friend,

This is just to tell you of the great success of "The Pig
headed Ones". Further details later. Hanslik has spoken and
in great style. I am keeping that number of the Presse for you.
He laid it on thick and no mistake. In Vienna a lot of things

are in preparation this year: the II. Rhapsody, the Symphony
(D major), and for Hellmesberger I am writing a new quartet
at his request.

Your affectionate -^ v ,,

Dvorak.

Dvorak to A. Gobi at Sychrav.T\\& comic one-act opera "The Pig-headed
Ones", on a text by Adolf Stolba, was composed in autumn 1874 and was first performed
at the Czech Interim Theatre in Prague on the znd October 1 88 1. The pig-headed
ones in the opera are a boy and girl who, in spite, or because of, their parents' encour
agement refuse to acknowledge that they are in love with each other and do so only
under the pressure of jealousy awakened in them by the cunning trick of an old gossip.
Bendl see 16. Dr Ed. Hanslick (see 18) published in the Neue Freie Presse an enthu
siastic notice of Dvorak's "Legends". For Hellmesberger (see 36), Dvorak wrote
the String Quartet in C major between the zfth October and the loth November i88r.

52. JOACHIM AND SIMROCK VISITED AGAIN

Dear Friend, Berlin > l8 ^/lo 81.

I am here in Berlin again. I cannot omit to write you a few
lines from here, too, for you are everywhere in my thoughts
and I am looking forward to visiting you on the return journey . . .
This morning I was at Joachim's and arrived very opportunely.
They were playing the Mendelssohn and Brahms Quartets for
their next performance. He promised to play my D minor
Quartet this year. Joachim liked the "Legends" immensely and
in Vienna they are also popular. Simrock told me that Brahms
played them with Prof. Door. It seems I have made a good hit
and Simrock certainly has not come off badly. On Friday I shall
meet Joachim in Dresden where he is giving a concert and on
Saturday we shall arrive with the afternoon train at Sychrov and
back to Prague on Sunday.

With affectionate greetings v

Iour Dvorak.

Dvorak to A. Gobi at SycArov.For Joachim see 33. The D minor Quartet see
25. Anton Door (1833-1919), teacher of piano at the Conservatoire of the Society of
Friends of Music in Vienna.

53. RICHTER HONOURED BY DEDICATION

My dear and noble Friend,

On my return from London I find your splendid work
awaiting me whose dedication makes me truly proud. Words
do not suffice to express my thanks: a performance worthy of
this noble work must prove to you how highly I value it and the
honour of the dedication.

Forgive me for not having written immediately after my
arrival in Vienna (Jan. 4th). The preparations for the Philhar
monic Concerts and theatre work of all kinds did not allow of
my studying the Symphony properly and without a thorough
acquaintance with it, I did not wish to write to you. If I do not
manage to give a performance of your Symphony in this series
of Philharmonic Concerts, I shall give a special concert of my
own in order to present your work to the public before the end
of the season. It will certainly be performed at the 2nd concert
of my London season as well as one of your Rhapsodies ; I gave
the one in A flat last year.

Once more my warmest thanks and kindest regards,
Your ever devoted,

Hans Richter.

The letter is dated from Vienna, 26. 1. 1882. For the performance of the D major
Symphony see 46.

54. LONDON SUCCESS OF THE NEW SYMPHONY

London, May i3th 1882.
My dear Friend,

This morning the first rehearsal of your magnificent work.
I am proud of the dedication. The orchestra is enthusiastic.
Monday the 1 5th is the premiere. At 8 p. m. Am sure of a great

-7

1) o

6 Johannes Biahms.

success. It is also studied and rehearsed with love. More after
the performance.

With warmest greetings,

Hans Richter.

Hans Richter in London to Dvorak in Prague, 13. V. 1882.

55. DVORAK TO SIMROCK

Dear Fritz, Prague : 6. 9. 82.

So you are back in Berlin. I was there, too, and played
through the Violin Concerto with Joachim twice he is very
delighted with it. I am very glad that it will be done with at
last! The revised work lay a whole two years with Joachim. He
was himself kind enough to make the alterations in the solo part.
I must still only change something in the Finale and make the
instrumentation more delicate in a number of places. I must go
to Berlin again at the beginning of November, by when I hope
everything will be finished, and Joachim will have a rehearsal
with orchestra at the Hochschule.

And now something else-on September 28th, my Dimitri
will be given! Will you be present at it? I wrote to Hanslick
yesterday. He is perhaps coming with Brahms. Jauner wrote
me that Pollini asks to have the score of The Peasant a Rogue at
once. Have you let him have word about it ? Don't put off it is
urgent. I am very much looking forward to the score. Joachim
is playing the C major Quartet. Otherwise nothing important!

I have still a gigantic amount of work I must rehearse,
too the Overture is not finished yet. Of that later!

With kind regards and give 1000 marks apiece to

Your

Tonda.

Hearty greetings to all.

Violin Concerto see 38. The opera "Dimitri" (see 48) was first performed by the
New Czech Theatre in Prague on the 8th Oct. 1882. Jauner viz -tf.Bernhard Pollini
(or Baruch Pohl, 1838-1897), director of the Municipal Theatre in Hamburg, where he
produced Dvorak's opera "The Peasant a Rogue" (see 28) on the 3rd January 1883.
1000 marks apiece: refers evidently to the fee for the String Quartet in C major, op. 61
and to the Overture to the popular play "Josef Kajetn Tyl", published by Simrock
under the title "Mein Heim". (J. K. Tyl, the first Czech playwright of note and the
author of the first part of the present-day Czechoslovak National Anthem).

56. DVORAK TO SIMROCK ON THE SUCCESS
OF HIS OPERAS

Prague, 16. 10. 82.
Dear Friend,

A thousand pities that you weren't in Dresden : you would
certainly have rejoiced heartily at the splendid success and the
exemplary presentation. Schuch did a really excellent bit of
work. Everything went off without a hitch and the nuances in
the orchestra and chorus were wonderful. Mr. Bulss and Madam
Schuch as well as Mr. Decarli (Martin), Erl (Jenik) and Madam
Jensen were excellent. The Overture was immediately followed
by a strom of applause as were almost all the arias. Especially,
however, the Prince's aria was so beautifully performed that the
audience demanded <an encore. In short, everything was splendid
and the audience very animated. I was called for after each act.
Schuch is very anxious for you to come to the next performance.
I should go there again, too. Perhaps I shall be in Berlin next
week and that would be the best opportunity. Yesterday at the
7th performance of Dimitri, Mr. Rosa, director of the English
opera was here from London. Pollini wanted to come as well.
Do let me hear from you.

With kindest regards, Dvorak.

The Hofoper in Dresden performed the opera "The Peasant a Rogue" on the
24th October 1882 under the direction of the chef d'opera Ernst Schuch (1847-1914).
The celebrated baritone, Paul Bulls (1847-1902) sang the part of the Prince, Madam
Clementine Schuch, ne'e Prochazkova BetuSka. Carlo Rosa, (Karl Rose) at that time
an opera producer in London and New York.

57. DVORAK TO HIS PARENTS

Dear Father and Mother,

I am enclosing 2,0 gulden for the rent along with a small
contribution, that is, 15 gulden, and five gulden for some "extras".

I was in Dresden some days ago where they were giving
a performance of "The Peasant a Rogue", with what success
you have probably read in the papers.

In short, they liked my opera very much and the audience
called for me very stormily. The Queen of Saxony was also at
the theatre, which is undoubtedly a great honour.

Next winter they will give "Dimitri" also in Dresden and
in London. The Peasant then in Hamburg and Leipzig.

On December 6th I am going to Budapest to conduct the
new Symphony. I am looking forward very much to getting to
know Budapest.

This week still I am going to Berlin and Dresden.

In the meantime God keep you all and prosper you,

Your gratefal son, Anton , n _

Prague, 18 i/n 82,
on All Saints' Day.

Dvorak's father FrantiSek (see i) and his -wife Anna lived, at this time, in Kladno
to which they had moved about the middle of 1860. Dvorak's mother died on the i4th
December 1882. The opera "Dimitri" was not performed either in Germany or in
England; "The Peasant a Rogue" was given not only in Dresden but also in Hamburg
(see 55) and in Vienna (see 76). Dvorak did not go to Budapest as he intended.

58. LONDON SUCCESS OF THE II. RHAPSODY

Dear Friend, Pra g ue > l8 i?/7 3-

I certainly do not trouble you too much with letters but all
the same I am not lazy. At my concert yesterday June i ith
your second Slavonic Rhapsody met with storms of applause

from the London audience. The valiant orchestra-at first a little
stultified-soon found delight in your lovely work ; and after the
musicians had become familiar with the melodies and the abund
ance of rhythmical life, they performed the Rhapsody with
enthusiastic fire and elan.
Best Greetings,

Your devoted TT ^. ,

Hans Richter

Richter in London to Dvorak in Prague, 12. 71. 1883.

59. FURTHER COMPOSITIONS AND SUCCESSES

My dear good Friend, Pra ue > T 8 z 7/ 7 8 3

. . . Often, very often, I think of you and imagine how, if
I had you here-or you me there-we should talk of different
things-and there would be plenty for us to say... Perhaps you
would be interested if I sent you the Silhouettes which have just
come out for 4 hands. They are excellently arranged by Th.
Kirchner of Dresden, are agreeable to play and sound very well.
I shall forward them today and, along with them, the solo part
of the Piano Concerto which has also just come out. On my next
visit you will play me something from it.

It appears that the piano concerto will awaken quite a lot
of interest in the world, at least I got word lately from Ehlert
and Brahms that both are very anxious to become acquainted
with the work. Needless to say Hainauer forwarded it to them
immediately. From London, too, I got a recommendation to
a pianist there, Beringer, who will play my concerto in London
during the coming season and who is to visit me in the first half
of August. Richter wrote, too, that my II. Rhapsody was a great
success. At first the musicians, so he says, found it a little strange,

it was new for them, but at the second and third rehearsals they
got to like it better and better, and at the concert then they
played like devils.

The Overture to "Tyl" in the Crystal Palace also got a
great reception, at least from what I read in a German paper.

From Frankfurt, the director of the Museum Concerts,
Miiller, also wrote that the Symphony and Sextet were very
much appreciated and enclosed 45 marks (as Ehrenhonorar}.
I must show you the letter. So you see that the people like me
a little after all and think something of me and have understand
ing^ too. If it was only like that here with us. The rest will keep
till I see you (D. V.) at Sychrov.

Your affectionate friend

Dvorak.

D<vordk to Gobi at Sychroi).The Silhouettes, a cycle of 12 compositions for piano,
op. 8, 1879, composed on themes from his first two symphonies (C minor and B flat major)
and From the songs "The Cypresses" (all in 1865) Published by Fr. Hoffmeister in Leip
zig in 1880 in the original version and in an arrangement as piano duets by Theodor
Kirchner. The Piano Concerto in G minor, op 33, 1876, -was published m 1883 by Hainauer
in Vratislav (now Wroclaw) The German pianist Oskar Bertnger (1844-1922), resident
in London, played this Concerto a number of times Dvorak, on his first visit to London
in March 1884 (see 66), was his guest. For Richter's performance of the Slavonic Rhap
sody in London see 58. Prof. Karl Muller (1818-1894), conductor of the Cecilian Mu
sical Society in Frankfurt-on-Main.

60. LEOS JANACEK ON DVORAK

... Of Janacek's friendship with Dvofak, his elder by 1 3
years, Janacek told me that they used to go for long excursions
together on which they were generally silent. Dvorak spoke very
little. Often he gave no reply to questions. Janacek opposed very
strongly the opinion often expressed as to Dvorak not being
intelligent. On the contrary, he maintained, Dvorak was contin
ually deep in thought. "His intelligence was of quite a special

order," says Janacek. "He thought exclusively in tone and paid
no heed to anything else..."

Max Brod: From the book "LeoS Janicek Life and Work". Dr. Max Brod
(b. 1884), a Prague German author, journalist and critic, an enthusiastic admirer and
propagator of the works of the Moravian composer, LeoS Janacek. He -wrote a number
of studies on him and translated the libretto of his operas into German.

61. DVORAK'S PLANS

He wishes now to write pieces for piano duets something
characteristic from the Bohmerwald (Sumava), Simrock, he
says, wants it: but I don't feel too keen about it, said Dvorak,-
I haven't any proper titles. Schumann exhausted all the suitable
titles and anyhow all that kind of thing has been done before
and it is difficult to find new and characteristic and original
titles for the different pieces for piano: Said I: What does it
matter about titles if there is only the music? Oh, there's no
question about the music, replied Dvofak. I've got that; but
I have no titles. Then he asked me if I couldn't give him some
suitable poetic titles-like pictures-and always add a few words
of description, that he would then get the spirit of it and fill in
the rest. He only wanted, as I saw, to have some kind of motif,
some impulse to set him thinking . . .

From the Diary of Marie Cer*vink<yvd ( see 48 ), September 1883 (see 49). The cycle of
piano duets "From the Bohemian Forest", op. 68, was undoubtedly written under the in
fluence of the impresisons from the wanderings with Janacek through the south of Bo
hemia, between September 1883 and January izth 1884. Published by Simrock in 1884.

62. VISIT TO BRAHMS

... I was in Vienna some days ago where I spent some lovely
days with Dr. Brahms who had just come back from Wiesbaden.
I have never seen him in such a happy mood. We were together

every noon and evening, and had much to talk about. He seems
to take pleasure in my company and I am so captivated by his
kindness both as an artist and as a man that I can find it in my
heart to love him. What a heart and mind the man has! You
know how reserved he is as regards his creative work even to
wards his dearest friends, but he has never been so with me.
My wish to hear something from his new Symphony he granted
at once and played the first and last movements. I say, and I am
not exaggerating, that this work surpasses both his earlier
Symphonies, if not perhaps in greatness and monumentality of
expression, then certainly in beauty! In it there is a mood which
you will not find so often in Brahms. What lovely melodies are
there! It is pure love, and on hearing it your heart melts within
you! Remember what I say and when you hear the Symphony
you will say that I heard aright. But enough. The work will be
an adornment to art and I congratulate you in advance.

Your A. D.

On Sunday the i4th, OndHcek is playing my Violin Con
certo.

Dvorak to Simrock in Berlin, xo.X. 1883. The Symphony referred to is Brahms's
Third Symphony in F major, op. 90. Dvorak's Violin Concerto (see 38) was played
for the first time by the famous Czech violinist, FrantiSek Ondffc'ek (1857-192,2), all
his life one of Dvorak's most enthusiastic admirers. The first performance took place in
Prague on 14. X. 1883.

63. ONDRICEK AND DVORAK'S CONCERTO

Dear Friend, Vienna, Nov. 1 5th 1883.

I spoke here to Sarasate and although he knows that I am
going to play your Concerto here, he spoke of the work in a very
equivocal way, which made me so angry that I told him that

he did not know the work. Whereupon he remarked that he had
played it from sight, which I do not believe, because such a vio
linist has yet to be born. Still worse was what he said about your
Concerto to Kopta in Graz: he said that Joachim will certainly
not play it, that it is nothing but teeteetee and old-fashioned
form. Chiefly for this reason I have not called on him again
and have not given him my photograph which he asked me for.

I wanted to play your Concerto in Hamburg on the 23rd
of this month, but they turned it down-why I do not know but
shall find out. In spite of that I have put the work on my pro
gramme both for Frankfurt and Bremen. I shall also play it here
at my big concert for the second time, of course with orchestra,
in the large Musikvereinsaal.

So you see, my dear Friend, I give you no cause for com
plaint and should be glad if I could play your Concerto in Lon
don in Spring.

With kind regards to your wife and yourself,

I am, Your devoted friend, ^ ~ , v ,v ,
5 ' Fr. Ondncek.

Sarasate played Beethoven a t'espagnoJe-someihing fright
ful, small wonder he cannot understand your Concerto.

See 62. Ondffc'ek gave a first performance of Dvorak's Concerto in Vienna
on the and December 1883, at a concert of the Vienna Philharmonic under the baton of
Hans Richter. Pablo Sarasate (1844-1908), the celebrated Spanish violin virtuoso and
one-time professor at the Conservatoires in Philadelphia, Graz and Munich

64. PREPARATIONS FOR A FIRST VISIT
TO ENGLAND

Dear Sir,

I sent you word three days ago that I shall arrive in London
on Saturday, March 8th and shall be met by Mr. Berger. Thank
you for your kind invitation which I have pleasure in accepting

and am looking forward to spending a pleasant evening in your
company.

I shall bring with me the Hymnus which has already been
translated into German, I shall also be able to give you more
information about it.

For the present I beg you to accept my respectful greetings.

Yours sincerely, A -^ v ,,

J A. Dvorak.

Dvorak to Henry Littleton in London, March 1884, written, in English. Henry
Littleton, proprietor of the publishing firm of Novello, Ewer and Co., London. In
March 1884, Dvorak made the first of a series of nine visits to English towns, each of
which was a splendid success for him both as composer and conductor. Beringer see
59. Hymnus, "The Heirs of the White Mountain" (see 16) was published by the firm
of Novello in 1885. For its first performance under Dvorak's baton see also 83.

65. THE "HUSSITE" OVERTURE

Dear Friend, Prague, ! 8 5/3 84.

... I cannot give you my score for comparison till I come
back from London. I am leaving for there this evening as I have
been informed by the Concert Committee that a change has been
made: instead of at the beginning of May, I am to conduct in
London on the i3th and igth of March. A letter has just come
from London. I am to conduct at the Crystal Palace. I shall
be back about the 23rd of March.

With warm greetings, Dvofak.

From Dvordk to Simrock in Berhn. The letter evidently refers to the "Hussite"
dramatic overture, op. 67, which Dvorak composed between the 9th August and the
9th September 1883 for the festive inauguration of the Czech National Theatre in
Prague which took place on the iSth November 1883. The Overture, which has as its
content the ethic significance of the glorious epoch of the Hussite Rising in the
history of the Czech nation (the beg. of the i5th cent.) as a struggle for the great idea of
national freedom, is based, in addition to several original themes, on two motifs from old
Czech chorales: the St. Vaclav (Wenceslaus) Hymn from the 1 3 th century and the Hussite
chorale: "Ye who are God's warriors" from the i5th century.

66. IN ENGLAND FOR THE FIRST TIME

. . . To complete my report, I must tell you that we arrived in
London on March 8th at 6 p. m. The only places we broke our
journey at were Cologne and Brussels. The crossing was mar
vellous, the sea absolutely calm and we set foot on English soil
perfectly fit. The next day we saw the name Dvorak in almost
all the papers, some having had the "?" and the "a" specially
cast, while others wrote "Dvorak". Dvofak is staying with the
pianist Beringer and I with a countryman, Mr. Zavrtal, 9 En
glish miles away . . .

Extract from a letter by Jtndrich Kdan to Velebin Urbdnek (see 50). Dvorak's
first visit was to London where he stayed from March 8th to ayth 1884 (see letters fol
lowing). Dvorak, who learned English relatively quickly, was accompanied this time by
Jindrich Kdan (1858-1926), composer and professor of piano at the Prague Conserva
toire. Beringer see f l ^,Ladisla'v Josef Zavertal (1849-1886) born in Milan as the
son of a Czech father, lived in London at that time as bandmaster of His Majesty's
Forces. He got to know Dvorak in 1880 when visiting Prague for the performance of his
opera "Night in Florence".

67. DVORAK'S FIRST LONDON SUCCESS

. . . On Monday there was the first rehearsal with the choir in
the Albert Hall, an immense building which can comfortably
seat 12,000 people. When I appeared at the desk, I was wel
comed with such a thunder of applause that it took some con
siderable time before there was quiet again. I was so deeply
touched with the warmth of the ovation that I could not speak
a word, and, in any case, it would not have been of any use as
nobody would have understood me. ...The director of the
Society, which performs only oratorios, Mr. Barnby, who con
ducted my "Stabat Mater" last year, had this time prepared and
studied everything so thoroughly that the rehearsal went off very
well indeed. The next day there was a rehearsal with the orches
tra and, in the afternoon, with the soloists. They are the fore
most artists in London and especially the tenor and the contral-

to are lovely voices. I must, however, give you an idea of the
size of the orchestra and choir. Don't get a shock! 250 sopranos,
1 60 contraltos, 180 tenors and 250 basses; the orchestra:
24 first violins, 20 second violins, 16 violas, 16 cellos and 16
double-basses.

The effect of such an immense corpus was truly magnif
icent. It is 3 indeed, indescribable.

On Tuesday Littleton gave a dinner in my honour. About
150 persons were invited, among them the leading artists and
critics. Each one welcomed me most heartily and gave me a
warm hand-shake. That evening was devoted exclusively to my
compositions . . . We stayed till half-past two in the morning.

Littleton is a very charming man and fabulously rich; it is
really wonderful the appointments and the whole style of living
at his princely house. At his request I shall write a new oratorio
for the celebrations in Leeds . . .

... At the concert my appearance was greeted with a storm
of applause. The general enthusiasm grew from item to item,
and, at the end, the applause was so great that I had to thank
the audience again and again. At the same time the orchestra
and choir overwhelmed me from the other side with the heartiest
ovations. In short it turned out better than I could ever have
hoped for.

All this has led me to the conclusion that here in England
a happier time, God grant it may be so, has begun for me which,
I hope, will bear Czech art in general good fruit. The English
are a good, warm-hearted and music-loving nation and it is well
known that when once they take a liking to someone, they re
main faithful to him. God grant it may be so with me. . .

Dvorak in London to Velebin Urbdnek (see 50) in Prague. At his first public
appearance in London, Dvorak conducted his sacred cantata "Stabat Mater" at the
Albert Hall. The rehearsal of which he speaks in the letter took place on March loth,
the concert itself on the i3th March 1884. The solo parts were sung by A. Williams
(soprano), Patey (contralto), Fred King (tenor) and Charles Lloyd (bass). The work was
rehearsed by Sir Joseph Barnby (1838-1896), founder and conductor of the oratorio
concerts at the Albert Hall, who had presented Stabat Mater on March zoth of the pre
vious year (1883). Henry Littleton see 64. The new oratorio for Leeds: "Saint Lud-
milla" see also 101.

68. LONDON IMPRESSIONS (I)

Dear Friend,

I beg you not to be vexed with me for not having sent you
any news, but I am so taken up the whole day with rehearsals,
visiting and other things that I am glad when I come home in
the afternoon to throw myself down on the sofa and rest a little.

I only wish you could see for yourself this city, its bustle
and life it would simply take your breath away. All attempts
at description are vain; anyone who has not seen and heard it
would not believe it.

Imagine only this : Kaan is staying with Zavertal, 9 English
miles from here, that is as far as from Prague to Kralupy or to
Ricany, or again to Dobf ichovice and then to somewhere near
Cesky Brod. Imagine this huge area a mass of houses and streets
with a network of railways and you have some small idea what
London is like. Or : imagine the New Town Theatre about five
times as big and you will know what the Albert Hall is like
where 10,000 people listened to Stabat Mater and 1050 mu
sicians and singers played and sang-and then the enormous
organ. Imagine then the most wonderful co-ordination of the
whole ensemble and you will be able to imagine the impression
of this or that composition.

When they sing Handel's Messiah here and they come to the
jubilant Hallelujahs, then the whole audience rises to their feet,
waving their hats and handkerchiefs. I am giving you only a
short account of all this so that you can have some slight idea
what Kaan and I have experienced here.

With greetings to yourself and all the others,
I remain, Your Friend

A. Dvorak.

Dvordk to Karel Eendl (see 16) in Prague, March 1884. Kaan and Zavertal see
66.~The wooden building of the New Town Theatre with a circular ground plan stood
from 1859-1885 on the site of the present-day National Museum in Prague Perform
ances were given there in summer.

7 6

69. LONDON IMPRESSIONS (II)

Manchestr Square W.

1 2, Hinde Street. London, Friday list March. 1 8 84.

Dear Father,

I got your letter and was very glad that you, too, remem
bered me. Who could have thought that far across the sea, in
this enormous London, I should one day celebrate triumphs
such as few foreign artists have known! I shan't make any long
story about it, perhaps you have all read in Kladno what the
newspapers wrote about my great successes.

Just to give you a slight idea of what this London looks like
and how terribly big it is, I shall tell you the following :

If all the Czech, inhabitants of the whole of Bohemia were put
together, they would not number as many as the inhabitants of
London. And if all the inhabitants of the town of Kladno were
to visit that enormous hall where I conducted my Stabat Mater,
there would still be plenty of room-for that is how huge the
Albert Hall is!

Yesterday I had my second concert in St. James's Hall where
I again achieved the most splendid success! I cannot tell you
how great is the honour and respect the English people here
show me. Everywhere they write and talk about me and say that
I am the lion of this year's musical season in London! Two
banquets have already been given here in my honour, and on
Monday, a third, and a very grand one, is being given by the
society of artists, the "Philharmonia", which invited me to
London. In September I shall have to come here again, but
still farther to beyond London. It is the big industrial town of
Dorchester , where I shall again conduct Stabat Mater. For next
year and '861 already have offers to come to England and shall
have to write new compositions.

From this you can judge how they like me and value me.
In some of the papers there was also mention made of you, that

I come of poor parents and that my father was a butcher and
innkeeper in Nelahozeves and did everything to give his son
a proper educatian, Honour be to you for that! When I get back
to Prague I shall visit you at Kladno. Till then God keep you.
With a loving embrace.

Your grateful son,

Antonm.

Dvorak in London to his father Frantisek (see I and 57), in Kladno, Bohemia.
Dvorak's second concert took place at the smaller St. James's Hall on March 20th 1884
with the London Philharmonic Society. Dvorak conducted his "Hussite" overture, the
D major Symphony, op 60, the II. Slavonic Rhapsody and the "Gipsy Melodies" sung
hy the tenor Winch. The dinner given by the Philharmonic Society was at the Cafe"
Royal on Monday the 24th March. For Dvorak's second visit to England (to Worcester)
see also 79 and 80.

70. DVORAK TO SIMROCK IN BERLIN

Prague 18 1/4 84.
Dear Friend,

I came back from London two days ago where I had the
most tremendous success. I should have liked to send you a fuller
report from London but my time was so taken up with rehearsals,
invitations etc. that I was glad to make use of the remaining time
to rest. I cannot describe to you in words the overpowering im
pression of the Stabat. It was breath-taking. A choir (excellent)
of 1000 voices and an orchestra 160 strong! Indescribable!
I am awaiting the proofs. More another time.

With best greetings,

Your

Antonm Dvofdk.

7i. DVORAK AS CONDUCTOR (I)

Dvorak is not one of those "salon" conductors whose
concern is that their pose at the desk should make an impression
and that the baton in their hands may describe elegant lines; he
conducts modestly, with those involuntary movements of the
body which show that the spirit, in the process of reproduction,
is living over once more the composition it created; yet he
conducts with that concentrated musical devotion which fires
the masses and communicates itself to each of the performing
musicians, fills him with enthusiasm for his task and makes of
each one an indispensible part of the whole. If Dvorak had not
become a famous composer, he could have become a celebrated
conductor his musical talent is universal and as aesthetically
typical in composition as it is in the conducting of musical works.

Emanuel Cfouala (1851-1924), leading Czech musical critic, for many years musical
critic of the Czech dailies Narodnf Politika and Politika and a composer. In Czech
musical circles, his word as a critic carried great weight. The extract is from a. notice
dating from 1896.

72. DVORAK AS CONDUCTOR (II)

I saw Dvorak as a conductor at one of the Popular Concerts.
But surprisingly enough not a trace of nervousness and his ges
tures were directed entirely towards the score. It seemed to me
that at the desk he had grown taller, but it was perhaps only
an illusion born of the excitement of the moment,

From the book by L. K. Zizko. (see 50).

73. DVORAK AS CONDUCTOR (III)

Do you remember Dvorak when he had finished conducting
and turned to face the audience ? The proud forehead with its
almost hard expression, with its deep furrows and with that
lovely spiritualized eye ? That is always how I picture him when
I call him to mind. So composed, so contemptuous of the daily
bustle and tumult. . .

Ladislav Dolanskj (1857-1910), Czech musical critic and writer, did important
research work on Smetana. Extract from his book "Musical Memoirs".

74. DVORAK REPLIES TO ONDRICEK

Dear Friend, Pra g ue > l8 9/4 84-

I was in Plz.efi for a few days and conducted Stabat Mater
and so it was not possible for me to reply to your letter till today.
First of all thank you for your congratulations on my London
successes which were truly splendid, only a pity that you could
not be present. Joachim could not play my Concerto (though
he was willing) because the Philharmonic would not consent to
my conducting at other concerts before conducting with them,
seeing they were the first to invite me to London. It would have
looked a little strange on my part and so had I to refuse. I am
very glad that you are going to play my Concerto with Richter
and thank you for your kindness. Some English papers wrote
about Joachim that his intonation is somewhat faulty and that
he scrapes. What do you say to that? Write me when you are
back in Prague.

Greetings from

FrantiSek Ondfic'ek see 62. The Choral Society "Hlahol" in Plzen performed
"Stabat Mater" under Dvorak's direction on April 6th and 7th 1884. Although Dvo
rak's Violin Concerto is dedicated to Joachim, this artist is not known ever to have
played it in public.

" t . Facsimile of a page from the manuscript score
of "Stabat Mater".

8 The Czech violin virtuoso, Frantisek Ondricek

75- DVORAK'S FAVOURITE SUMMER RESIDENCE

The Master's first retreat at Vysoka by Pfibram, where he
always spent the holidays with his family, was an ordinary
walled granary behind the villa in the woods where the Count
Kaunitz used to keep his carriages, sledges etc. Only when it
became known that Dvorak intended to spend the summer there
was the place quickly adapted for living quarters. Often he
would point to his first summer house and say: "Look there,
that's where I worked at 'The Spectre's Bride'."

Later, when the Master had a larger family, he bought
from his brother-in-law, the Count Kaunitz, a big place known
as "The Sheepfold" from which there is a lovely view of the
near-by village of Tf ebsko. He fenced the place in, built a small
one-storeyed house in the middle and laid out a lovely large
garden round the house. Here he spent many happy holidays
in the circle of his family, whom he loved above everything, and
created many beautiful works.

The Master was fond of going to church in Tfebsko or
Bohutin and played the organ at mass. Best of all he liked to
accompany the congregation singing and often used to say
that a hymn sung by the people is far better than a badly per
formed mass sung in the choir. His favourite was the hymn to
the Virgin "A Thousand Times we greet Thee". This he loved
to play and more than once remarked to the choirmaster in
Bohutin, Mr. Petak: "You know, in Prague they don't sing as
they do here. They sing, too, but it's not the same thing. Here
the people are still a little religious."

Bohumtl Fidler: "^collections of Antonin Dvorak" Bohumil Fidler (18601944),
composer, choirmaster and choir director in Pffbram, a town well-known as a. place of
pilgrimage and for its ancient silver mines. Near this town is situated the village of
VysoM, of which most of the inhabitants are Pffbram miners. The estate, with a mansion
house, a farm and woods, was the property, in the years 18 73-1907, of Dvorak's brother-in
-law, Count ydclavKounic^S^-iyiT,), whose wife Josefina (1849-1895) was the sister of

Dvorak's wife and at one time a very popular actress at the Czech Theatre in Prague.
The Dvoraks were at first guests of the Koumces but in 1 884 bought a fairly large piece
of land and a little house as described above. "The Spectre's Bride" : Dvorak's ballad for
solo voices, choir and orchestra (see also j&).Trebsko, Bohutin, villages in the neigh
bourhood of Vysoka.

76. COUNTRY PLEASURES

~ . , Vysoka, 13. 5.

Dear Friend,

I have been here again for some days now in the loveliest
woods where I am spending the most wonderful days in the love
liest weather and am filled with ever new admiration as I listen to
the enchanting song of the birds. That in doing so I never think
of composing for that you must take my word, even though it
seems unlikely, as most composers are inspired to work by the
singing of birds and in listening to them the loveliest melodies
occur to them but I give myself up entirely to the enjoyment
and work only when I feel rested and have gained new strength.
Don't laugh at me for wanting once to write poetically, but it is
such a lovely morning today-indescribably lovely! And the
thought that here in this solitude I shall at last have my own
piano-I bought it in Prague for my own money and now I am
going with John and a big waggon to fetch it from Pfibram all
this makes me terribly talkative so that I have left the most im
portant thing to the end. Well, I received the money and music
(very little of both) ; I hope you will do better next time.

. . . Vienna wants an opera from me, as Hanslick writes-
they can have one as far as I am concerned, but that the gentle
men do not want "Dimitri" I can't understand and they will be
sorry for it yet!

With kindest regards, -^ ,.

D<uordk to Simrock in Berlin Re Vysokd. see 75. The opera "The Peasant a.
Rogue" was performed in Vienna on Nov. igth 1885.

77. BIRDS - THE REAL MASTERS

Master Dvorak was also a great lover of singing birds. At
home and in the garden arbour at Vysoka he used to have a great
many cages with songsters, mostly thrushes, and always when

they sang he would say to me: "Do you hear them? How they
sing! They are the real masters!"

One beautiful summer evening we were walking through
the park behind the Count's villa. We had gone beyond the pond
into the woods. All the song-birds of the forest, as if at a word of
command, started their evening concert. The Master, affected,
sat down on a bench and said: "Sit down, comrade, and listen:
it is divinely beautiful!" And with deep emotion added: "You
know, before I die, I shall write a fine bird symphony and I shall
put my very best into it!"

B. Ftdler: Recollections of Ant. Dvordk. See 75.

78. "THE SPECTRE'S BRIDE"

Dear Friend, ^^ 8 ' 7 ' 8 *

I got your letter yesterday, Monday, and it gave me great
pleasure. I am also very glad that you have got to Sychrov at
last and able to enjoy the country as I am doing here. I feel
very happy now especially as my new work "The Spectre's
Bride" is making good progress; this week I plan to have the
sketch quite completed and then the rest will go smoothly.
I thank God that this time, too, my guardian spirit has not for
saken me, and how could it be otherwise when I love him so ?
I think (and you will see that I am not deceiving myself)
that this work will surpass all my previous works in every re
spect, not excepting Stabat. Only please don't say "anything
about it to anybody, it would look like self-praise and I shouldn't
want that-you know me. People who have no sense, no nose,
no ears, to them I should never say anything like that; but to
you I say everything just as my feeling and understanding
dictate. But enough of that!

Of the honour shown me in London you know, and I thank
you for your congratulations.

You ask me when I am coming to Sychrov. Maybe soon.
I shan't begin with the instrumentation in any case till I have
had a little breathing-space.

I am longing to see you and looking forward, like the girl
in my "Ballad" to her beloved, when she sings:
"I, sad and forlorn, had a lover,
His life than my own was dearer,
Gone is he now across the sea.
Nor has he yet returned to me."
And so God keep you and think sometimes of
Your Friend

Ant. Dvorak.

Diiofdk to A Gobi (see 33) at Sychrov The sketch for the ballad "The Spectre's
Bride" for solo voices, choir and orchestra, based on the text of the ballad of the same
name by Karl Jaromir Erben (1811-1870), was -written between May 26th and June
1 6th, and scored between the 24th of the same month and November 27th 1884. It is
the story of a girl who, having wished an impious wish, experiences a terrible night with
her lover's ghost and is, in the long run, saved by a sincere confession of her guilt. For
the performance of the work in Birmingham see 8790 below. Distinction received in
London: the Philharmonic Society made Dvorak an honorary member of the Society.
The four verses quoted from the Ballad are accompanied m the letter by Dvorak's
melody.

79. DVORAK'S SECOND VISIT TO ENGLAND

At Dover we were met by Dvorak's London publisher,
Littleton, proprietor of the old and famous publishing firm of
Novello, Ewer & Co., and he drove us to his lovely, you might
say, royally appointed villa in Sydenham not far from the Crystal
Palace. This gigantic building of glass and iron was the first
place we went to see and then followed the other sights of the
huge city on the Thames. At Littleton's house we made the
acquaintance of a noted American composer and a very interest-

ing character : the American composer, Dudley Buck, who in
vites Dvorak to go on a concerts tour to America. Dudley Buck
studied at the Conservatoire in Leipzig and is a great admirer
of Dvorak. Whenever he heard that Dvorak was coming to
London, he put off, because of him, his departure to his home
country. At first Dvorak did not appear very keen on the long
journey to America, but now he seems all at once to have taken
to the idea and if the conditions are attractive enough, America
will see our composer.

This year's festival in Worcester to which the Master was
invited is the hundred and sixty-first in the series. Worcester
is celebrating this time, with its faithful supporters from Glou
cester and Hereford, the octocentenary of the founding of its
cathedral, which can accommodate a congregation of 5000.

Thursday was a great day for our Master. Not till you hear
it under the venerable vault of a cathedral such as that of Wor
cester do you feel and experience that inexpressible impression
which shakes a man's whole being to the very depths of his
soul when there sounds forth the noble beauty which emanates
from Dvorak's Stabat Mater. "There is no other work of modern
times in the sphere of sacred music which can compare with
Stabat" this is the opinion expressed by all English musical
critics : Huefer, Benett, Prout, the critics of the Standard, and
of the Worcester, Birgmingham, and Manchester papers into
which circles I have been introduced through Dvorak. The ren
dering was excellent, choir and orchestra were perfectly sure of
themselves and the soloists Albani, Patey, Lloyd and Santley
had a perfect command of the oratorio style, as, in fact, English
singers are unrivalled in this field. The work, admirably per
formed under the firm, confident baton of our Master, made a
deep impression on all present. Equally successful was a spirited
performance of Dvorak's D major Symphony at an evening
concert given in the Public Hall where this splendid work was the
high point of a full and varied programme.

I look back on all that we have experienced here as on a

marvellous and beautiful dream. I have witnessed enthusiasm
such as I should never have expected of the seemingly cool
English not perhaps some superficial enthusiasm, but under
standing and proper appreciation such as Dvorak at home has,
generally speaking, so far not been accorded.

V. J. No<votnj (see 2) : "With Dvorak in England" On Dvorak's second visit to
England, he was accompanied by V. J. Novotn^ when he attended, at the beginning of
September 1884, the Musical Festival held to celebrate the eighth centenary of the found
ing of the magnificent cathedral of Worcester. He conducted Stabat Mater in the
Cathedral on Thursday the nth September in the forenoon^ and then, at the concert
in the Public Hall, his D major Symphony with the London Philharmonic Orchestra.
Dudley Buck (1839-1909) : an American composer of sacred music, organist and conductor
in Brooklyn. Emma Albani (1852-1930) : the artist's name of the famous English soprano
L. C. Lajeunesse.

80. DVORAK TO HIS WIFE

Worcester, 12/9 Friday morning, 1884.
Dear Anna,

Yesterday I again had a great day. Stabat Mater, in the
wonderful and very large church (4000 people) made a tremen
dous impression. It was the finest day of the whole celebrations
as everybody here was saying. When we left the church, every
body was looking at me and everybody would have liked to
shake hands and say a few words, which of course was not pos
sible with such a large number of people. I was then introduced
to Lord Compton, and his lady then presented me, in a magnifi
cent suite of rooms, to all the e*lite of beautiful ladies whereupon
we went in to breakfast. There were about 300 people.

Everywhere I appear, whether in the street or at home or
even when I go into a shop to buy something, people crowd
round me and ask for my autograph. There are pictures of me
at all the booksellers' and people buy them only to have some
memento.

Yesterday there was the Symphony. I was received with
great enthusiasm ; then a deputation came to me headed by the
Mayor and Lord Compton to express their thanks for my par
ticipation in the Worcester Festival. In short, a great victory.

God bless you!

Your Antonin.

8 1. ON THE NEW SYMPHONY (I)

Dear Sir,

First of all my warm thanks for the excellent smoked meats
which we enjoyed immensely. Be so good as to forgive me for
not having thanked you sooner but I have had a very great deal
to do.

Now I am occupied with my new symphony (for London)
and wherever I go I have nothing else in mind but my work
which must be such again as to make a stir in the world, and
God grant that it may! I have sent the "Spectre's Bride" to its
destination. The first performance is to be in Plzen at the begin
ning of April, then in Olomouc and, on St. John's, in Prague.

Wishing you and your family a merry Christmas and a
happy New Year,

With loving greetings, Yours

Antonin Dvofak.
Prague, December 2, 2nd 1884.

Dvorak to Antonin Rus in Mirovice.A.. Rus, judge in Mirovice near Vysokd and
one of Dvorak's dearest friends. The new Symphony for London, the D minor, op.
70, one of the greatest products of Dvorak's genius a work in which manly resolve
and passionate longing lead at last to victorious determination; it was composed be
tween the middle of December 1884 and the iyth March 1885. On the manuscript of
the score: "Composed for the Philharmonic Society in London." For the first performance
in London see 83 and 84. The cantata "The Spectre's Bride" was given its first per
formance by the choral society "Hlahol" in Plzen, with Dvorak conducting, on March
1885.

82. ON THE NEW SYMPHONY (II)

. . . Today I have just finished the second movement Andante
of my new Symphony, and am again so happy and contented
in my work as I have always been and, God grant, may always
be, for my slogan is and shall be :

God, Love and Country! And that alone can lead to a happy
goal....

Dvorak to A. Gobi (see 33) at Sychrov, 31 XII 1884. Symphony in D minor
see 8 1

83. NEW PLANS FOR ENGLAND

Praha 18 17/3 85.
Honoured Friend,

I am glad to have news of you again. I often thought
that you must have quite forgotten me. As regards the new com
positions, I should like, as I wrote in my last, to recommend the
big dramatic overture "The Hussite" and the Scherzo capric-
cioso, both for large orchestra. I presented both works last year
at St. James's Hall and the Crystal Palace in London and now
I am writing for the Philharmonic Society in London a new
symphony which I must conduct myself on April 22nd of this
year. I would gladly give you it, but it will hardly be possible as
I must send the score and parts to Berlin straight away where
they must be engraved over the summer to be ready for the
coming season. I hope we shall see each other in London or
perhaps at the Birmingham Festival for which I have written
a big work for choir and orchestra. And now I have a great
request. You perhaps know what an immense success my Stabat
Mater achieved in London and Worcester; I think you need

only say the word and it will be possible for Vienna to hear it.
So if at any time you should want to present a new work, do not
forget about my Stabat Mater,

With heartiest greetings and kind regards,
I remain, Your ever grateful

Ant. Dvorak.

Dvorak to Richter in Vienna. For the performance of the "Hussite" over
ture m London see note 69. The new symphony for the Philharmonic Society in
London: D minor, op. 70, see 81 and 84. The vocal and orchestral work for the Bir-
ming-ham Festival, the cantata, "The Spectre's Bride", see 84 and 9396 Stabat Mater
in Worcester see 79. Richter performed this work in Vienna with the Gesellschaft der
Musikfreunde, but not toll February ipth 1888.

84. MORE ABOUT ENGLAND

Dear Friend, Pbe * ( Piisen )> l8

Your letter reached me in Plzen where I have been staying
since the 23rd. Yesterday was the first rehearsal with orchestra
alone and I was very surprised and delighted that everything
was so well prepared and that all sang with great love and en
thusiasm, I hope that it will be the same with you, too, in Olo-
mouc.

One thing, however, is worrying me very much and that
is that on the day you write of as fixed it is scarcely likely that
I shall manage to be with you. It is very distressing for me but
when I tell you how matters stand I am sure you will realize that
there is no other possibility. I have already written to London
that I cannot possibly stay any longer than the end of April.
They, however, wish without fail that I should, in addition to
my Symphony (on the 22nd), also conduct my Piano Concerto
at the ^th Philharmonic Concert and then not till May i3th
"The Heirs of the White Moutain" in the Albert Hall.

I am awaiting their answer and so I do not know what the
outcome will be. In any case I shall insist that I cannot prolong
my stay beyond the 6th May so that I should be in Prague
again by the loth or i ith. But of what use is it when I must
be present at rehearsals in Prague where they are to give "The
Spectre's Bride" on St John's Day.

As soon as I get word from London I shall let you know.
In the meantime I am.

With kindest regards. Your devoted

Antonin Dvorak.

Dvordk to Vicar Geisler in Olontouc tn Moravia. P, Jindrich Geisler (1849-1927),
vicar, later canon and dean of the Olomouc cathedral chapter of Olomouc in Moravia,
was for many years the President of the musical and choral society "2erotfn" in Olo
mouc and contributed not a little to its artistic development. He was on very friendly
terms with Dvorak, who several times conducted his compositions on their performance
by "2erotm" in Olomouc. The cantata, "The Spectre's Bride", after its first performance
in Plzen (see 81), was given in Olomouc at the beginning of May and by the choral
society "Hlahol" in Prague on the i6th of the same month in 1885. As is apparent from
the letter, Dvordk did not conduct at these concerts as he was again in London from the
middle of May where he conducted the first performance of his D minor Symphony,
op. 70 (see 81), with the Philharmonic Society on April zand in St. James's Hall, his Piano
Concerto in G minor, op. 33, with the pianist Franz Rummel, on May 6th, and "The
Heirs of the White Mountain" on May i3th. For this reason the cantata was conducted
in Olomouc by Dvorak's friend, Karel Bendl (see 16).

85. LONDON PREMIERE OF THE D MINOR
SYMPHONY

London, 18 24/4 85.

-r^ T- j Westwood House, Sydenham.

Dear Friend, ' J

I was greatly surprised and delighted to get your letter for
which my hearty thanks. Before this letter reaches Mirovice
you will perhaps know how things here turned out. Splendidly,
really splendidly. This time, too, the English again welcomed
me as heartily and as demonstratively as always heretofore. The
Symphony was immensely successful and at the next perfor
mance will be a still greater success.

Some extracts from the press notices have probably already
appeared in the Czech dailies. Although I have everything
I could wish for here, still I would rather be at Vysoka so that
I might see and take a delight in the lovely things with which you
have beautified our garden.

The weather has been lovely so far, but a change has set
in and I am afraid it will last a while, which happens very fre
quently in England. Hawthorns, and the tree in the gardens-
all in the loveliest flower. Roses, violets, to be seen everywhere!
Here everything is at least a month earlier. I hope that when
I come to you I may see everything once more. Please write to
me! For the present I send my warmest greetings to all.

Ever your

Ant. Dvorak.

Dvorak to Ant. Rus (see 81) at Mirtwice.

86. DISCORD BETWEEN DVORAK AND SIMROCK

-r^ T- jo- 1 Prague, 18. C. 8{.

Dear tnend Simrock, J

I received your letter in London but I was so occupied,
and I thought, too, that there was no great hurry .-But now to
the point. I fully recognize the validity of the points you put
forward, that is, from the business point of view. I, again, from
mine, must draw attention to important considerations which
I am sure you will also respect.

1. If I give you the Symphony for 3000 M, then I have as
good as lost 3000 M-because another firm offers me this sum-
in which case I should be extremely sorry if you should wish to
force me, so to speak, into such a situation.

2. I think that even though such large works do not pro
duce the desired financial effect straight away, the time may
come when everything will be amply made up for, and

3. I beg you to consider that in my Slavonic Dances you
have found a gold mine which cannot be so easily underrated,
and

4. if you take and consider all that you indicated in your
last letter from a common-sense point of view, then we reach a
very simple conclusion : not to write symphonies and large vocal
and instrumental works, but only publish here and there some
songs, piano pieces or dances and I know not what all : this, as
an artist who wants to make his mark, I cannot do.

Yes, my Friend, you see that is how I look upon it from my
artistic point of view, and I hope you will appreciate mine as
I do yours. This, however, does not lead to any conclusion. If
you do not wish, or, rather, if you simply cannot give me these
6000 M, then all talking and writing comes to an end; what
difference is it between you and me if you have 3000 M less
and I by so much more. Remember, I pray you, that I am a poor
artist and the father of a family and do not wrong me.

With warm greetings,

Your sincere friend

Ant. Dvorak.

D<vofdk to Simrock (see 22) in Berlin. Here Dvorak replies to a letter in -which
Simrock is unwilling to go beyond a fee of 3cooM for the D minor Symphony, complain
ing of the high costs and the small sale of large compositions for orchestra. At the same
time he expresses the wish that Dvorak should write anew series of "Slavonic Dances"
(see 39).

87. BIRMINGHAM PERFORMANCE OF "THE
SPECTRE'S BRIDE" IN PROSPECT

Reverend Sir, V 7 sokd > 2 */7 85.

Your letter gave me great pleasure and I thank you most
warmly for your kind invitation. As soon as I can, I shall come
to see you. When that will be I cannot say exactly. By August

1 5th I am to be in London, when the rehearsals for "The Spectre's
Bride" will be starting. If it should not be possible before then,
I shall at least write you from Birmigham how it came off. In
any case, I shall make every effort to come and see you. You
know how I have taken the Moravians to my heart and how
I love you all, and especially you, my beloved friend.

In the meantime my wife joins with me in sending warmest
greetings and kind regards.

Adieu!

I am. Entirely Yours,

Antonin Dvorak.

Dvorak to Vicar Getsler (see 84) in Olomouc.For the performance of "The
Spectre's Bride" in Birgmmgham see 8890.

88. "THE SPECTRE'S BRIDE" AT BIRMINGHAM

Dear Friend, ' -'

My wish to write you before my departure for England
was not fulfilled though not entirely through my fault. I wanted
to visit you on the return journey from the Brno celebrations,
but as I should not have been allowed to conduct the "Military
Music" at the concert I stayed at home. According to the law,
no civilian except the bandmaster may conduct a military band.
And I said to myself: And a good thing, too! At least I shall
escape the delectation of listening to my works m uniform and
in a higher military pitch. Ondncek played my Violin Concerto,
and then there was also the I. Rhapsody and the "Tyl" overture.

So I am leaving on Saturday, this time alone, and I don't
know how I shall manage. Of course I shall write to you from
London about how things go in Birmingham.

I am curious how it will turn out. Gounod is said to be coming.
I shall then look upon the creator of sweet melodies such as :

a jTj> irTT if r J p r i^

con amore

Oh how I am looking forward to it. When I come back
(D. V.), I shall come and see you for sure. You have no idea
how glad I shall be to see you again! Now if an order were to
come from England that no Czech is allowed to conduct there,
how I should rejoice. Well, enough for just now. My head is
full of all sorts of worries with this journey of mine.
With greetings to You and All at Sichrov,
Your devoted

Ant. Dvorak.

Dvorak to Gobi atSychrw. Dvorak "went to England for the fourth time in the
middle of August 1885 in order to conduct a performance of "The Spectre's Bride"
(see 78) at the Birgmingham Musical Festival. Soloists were Albani (soprano, see 79),
Josef Maas (tenor) and Charles Santley (baritone). The work was a decided success.
The French composer Charles Gounod, from whose opera "Faust and Margarete" the
melody is quoted, then called off his attendance at the Festival.

89. DVORAK AT THE SEASIDE

7. Victoria Mansions,
Dear Friend, West Brighton. 18 19/8 85.

So here I ami having arrived safely on Monday the i7th
August at 6 a. m. (alone this time]. London was still asleep,
everything quiet and not a soul in the streets.

I was quite done up by the journey and the same afternoon
I had to go to Birmingham where there was a rehearsal in the
evening of "The Spectre's Bride' '. It turned out splendidly, every
thing just as I would have liked it. The choir is 500 strong and
had it studied to the last semiquaver. Before the rehearsal and
after I was given a rousing welcome both by the choir and by the
public. The next morning I returned to London and today I am

writing you again from somewhere else the lovely seaside town
of Brighton to which the wealthiest London class go in summer
time. The lovely view of the sea from my room, the sight of
thousands of people swarming everywhere, the lovely English
women bathing (and publicly) , there again men and children^
then a countless number of boats large and small, or here a band
playing Scottish folk-songs and goodness knows what else be
sides : everything is enchantingly lovely so that nobody who has
seen it can ever forget it.

Here Novello, too, has a lovely house where I am staying
and where, God be praised, I am very content and often call you
to mind.

Tomorrow again to London where I have a rehearsal with
the orchestra (150 members), on Friday back to Birmingham
where I shall stay till the end of the Festival and then (D. V.)
I shall travel via Dover, Calais, -Kolin, Frankfurt, Pisek,
Mirovice , where my wife will meet me (and where I hope I may
see you, too), and the rest I shall tell you when I come. In the
meantime may all good attend you and greet from me all your
friends, and with a warm handshake from

Your

Ant. Dvorak.

Dvorak to Ant. Rus (see 81) at Mirovice. See 88.

90. BIRMINGHAM'S WELCOME

Birmingham,

^ ,-, . , Friday evening 10 p. m. 21/8 8c.

Dear Friend, J

I am here in this immense industrial town where they make
excellent knives, scissors springs, files and I don't know what
else, and besides these music, too. And how well. It's terrible
what the people here manage to do and to standl-There will

be 8 concerts in all and each will last 4-5 hours. My day is
Thursday the -zyth at 8 p. m. Please think of me!

I am looking forward to it immensely. The choir and orches
tra are first-class. 100 sopranos, 100 contraltos, TOO tenors,
100 basses and even more, 40 violins, 16 double-basses, 16 cellos
and the wind instruments doubled. Just imagine what it will
sound like when they start... The Birmingham papers gave me
a very warm welcome and the London papers write, too, that
my composition is likely to arouse the greatest interest and have
the best reception. Maybe it will and maybe it won't! We shall
see! And anyhow you will read about it!

The aria number two (A flat major) for soprano, and number
sixteen (G flat major) evoked tremendous enthusiasm both in
the orchestra and among the audience. Albani sings straight to
the heart that it's a joy to listen to.

I wish you could attend a performance of The Spectre's
Bride here; I can't tell you what an impression it made on me.
A thousand pities that you are not here!

I want to be home again about the ist September. This time
I am travelling alone, as I wanted to see how it would be. Well,
it was all right but the journey (48 hours) is terribly tiring.
I must finish. I am going to bed. May all go well with you
and don't forget

Your friend A -r>. v ,.

A. Dvorak.

Dvordk to A. Gobi at Sychrov.

91. A FATHER'S PRIDE

Honoured Sir,

The next day, the 8th, I received Your letter and the sum
of 25 fl. from my Son and thank You very warmly for the kind
ness shown me and be so good, Sir, and whisper in his ear that
I thank him very much and that I was very anxious about him

9 Hans Richter

WIEN, WAHRISG, COTTAGE

v/i

e*&<*

xsP

fyr-u-&>/
1

10. Letter from Hans Richter to Dvorak.

whether he was not there when there was the train collision out
side London on the 23rd, till I read on the 2yth August that
he had been in England since the 2oth and then I was as if
born again. And ask him, I pray You, Sir, if all the fame is still
ringing in his ears as the papers were writing. Then I have one
more request, Sir, and that is when You speak to my Son if You
would say a word to him to take a day off to visit me in Kladno
and give me the joy of seeing him once again. I hope he will
do so to please You, and I thank You, once again, Honoured Sir,
for your kindness.

Yours very respectfully,

Frantisek Dvorak.
At Kladno, the 9th September 1885.

Frantisek Dvorak (see 62 and 75) to Dr. J. Zubatj (see 8) in Prague.

92. DVORAK TO HIS PUBLISHER, H. LITTLETON

My dear Friend,

I am arrived quite well to my home.

The verry merry days of Birmingham ar over and naw stay
I agin quiet alone as before. Daily I am walking in the beuryful
forsts and reflecting about Ludmila. Many thanks for the reviev-
ing Coppys of the Oratoris and Cantatas.

The Editor of the Graphic in London asked me for my
Portrait, but I am sorry not to have one.

Please will you be so kind and send him an photgraphy
from Birmingham, supposed they are ready.

Another time something more.

My best compliments fo your family.
God bye, yours sincerely

Ant. Dvorak.

The letter dated 10. IX. 1885 is reproduced in the original English. As is evident
from the spelling, Dvorak picked up English mainly by ear.

93. DVORAK'S NATIONAL CONVICTIONS

. . . Do not laugh at my Czech brothers and do not be sorry
for me either. What I asked of you was only a wish, and if you
cannot fulfil it I am justified in seeing in it a lack of goodwill on
your part such as I have not found either among English or
French publishers. It is evident that you have no idea of the
circumstances in which I live.

Dvorak to Simrock in Berlin, 22. VIII. 1885. In this and the following letter,
Dvordk replies to letters in which Simrock ironically makes light of Dvorak's urgent
demand for his compositions to be printed also with Czech titles.

94. DVORAK DEFENDS CZECH CULTURAL
CLAIMS

Your last letter with national-political comments I found
very entertaining; I only regret that you are so badly informed.
That is how all our enemies or, more exactly: some individuals
must write in the intentions and according to the tendency of
this or that political paper. But what have we two to do with
politics ; let us be glad that we can dedicate our services to art.
And let us hope that nations which possess and represent art
will never perish, no matter how small they are. Forgive me
but I only wanted to say to you that an artist has also his country
in which he must have firm faith and for which he must have an
ardent heart...

Dvorak in Vysoka to Simruck in Berlin, 10. IX. r885.-See 92.

9 8

95. DVORAK'S PATRIOTISM

Dvorak was a Czech with every breath he breathed, though
any kind of "huzza patriotism" was very much against the
grain. Dvorak was born on Czech soil of Czech parents and
was and remained a Czech because, with his straightforward
nature, utterly devoid of all deception, it was not possible for
him to cease being a Czech.. And even though in following his
profession he left Bohemia for a time, his heart remained in his
country to which he soon and gladly returned. And yet there
could have been nothing easier for a man who, in fact, achieved
full recognition abroad sooner than at home, whose art gained
him entry to all countries (with the exception perhaps of some
Slav lands), whose art itself was international, than to grow
lukewarm in his national consciousness. If this had happened,
Dvorak would not have been the first nor the last. But that was
just not possible. Dvorak could not cease to be a Czech just
as he could not cease to be a human being or an artist. It is
interesting and instructive that the same Dvorak who, at home,
was a sworn opponent of all extravagant radicalism, was unable
to appear abroad as anything other than a Czech, heart and soul.
Allow me to quote in this connection a reminiscence from the
time of my personal contact with Dvorak. In 1885 I accompan
ied Dvorak to London where he conducted the first performance
of the D minor Symphony and, in addition, the Piano Concerto
and the Hymnus "The Heirs of the White Mountain", On his
arrival in London, Dvorik was surprised to see placards announc
ing that "Herr Anton Dvorak" was to conduct a new symphony
on such and such a day. Dvorak immediately saw to it that on
the placards he should be given the Czech designation, "Pan
Antonin Dvorak". The club of German artists invited him that
time to an evening to be held in his honour, such as had been
previously arranged for Billow, Richter and others, but Dvorak
declined giving as his reason that he was not a German artist.

Jos. Zubat^- (see 8): from the study "From Recollections of Ant. Dvorik". For
concerts in London see 84.

96. WORK ON SAINT LUDMILLA

Beloved Friend,

I am in the throes of work on my big composition, Saint
Ludmilla, and have nothing else in my thoughts so that I have no
time left for other things. This composing is a terrible business
before you get down to it, and what a lot of thinking over and
study it requires. But God grant as soon as I get settled a little
I shall come to see you. And how have you got used to your new
surroundings ? Are you not homesick for Mirovice ?

Au revoir very soon! A thousand greetings to you All,
Entirely yours,

Antonin Dvorak.

Dvorak at Fysokd to Rus in Phek, 23. IX. 1885. Ant. Rus see 81.

97. THE NEW SERIES OF "SLAVONIC DANCES", I.

You will forgive me but I simply have not the slightest in
clination now to think of such light music. I must tell you that
it will not be by any means so simple a matter with the Slavonic
Dances as it was the first time. To do the same thing twice is
devilishly difficult. As long as I am not in the right mood for
it, I cannot do anything. It's something that cannot be forced..,

Dvorak at Prague to Simrock in Berlin, i. I. 1886. See note on 86. For com
position of a second series of "Slavonic Dances" see 100.

98. THE NEW SERIES OF "SLAVONIC DANCES", II.
Dear Friend Simrock, Prague, 4. i. 86.

We arranged in Karlovy Vary that I would send you the
"Slavonic Dances" in summer, not before, and so I cannot

100

understand why you are so indignant now. . .Tou imagine compos
ing as altogether too easy a matter ; it is only possible to start when
we feel enthusiasm. But it is difficult to talk about such things,
my dear Friend.

With best greetings,

Y Ur Ant. Dvorak.

Dvorak to Szmrock in Berlin.

99. DVORAK TO SIMROCK ON THE PUBLICATION
OF SAINT LUDMILLA BY NOVELLO

T- t? j c- T Prague 18 16/4 86

Dear triend bimrock,

I was very much surprised by your letter and that you
should permit yourself such a tone towards me. If you are so
against me then I do not know if I shall be able to create with
joy and enthusiasm. Of what great importance is it if once
I publish, years after, a single work, and in England, too ? Is it
perhaps a crime and are you damaged by it? Besides, on my
word of honour, I should not have done so if I had been able
to remember any such written contract, but I swear I know no
thing of it. My dear Friend, you are now always casting it up
against me that I ask too high fees, but how am I to provide
for a numerous family (5 children) whose needs are always
growing in connection with their education etc. how, as an
artist, am I to exist if I am to be dependent on what I earn from
you ? I must, as a father, care for a large family, for I have not
only to feed and clothe them but also make provision for their
future, that is I must save for my children in order to ensure
them a proper livelihood, and where am I to get it from ? I pray
you, consider all this. I know that you have always meant well
by me, that you have a good and magnanimous heart there is

101

no need for me to trouble you with any long explanation, but
you will, I am sure, share my point of view. Let me, I beg you,
live too, and believe me that it has always been, and is also for
the future, my fervent wish that there should be complete har
mony between us.

With kind regards, Yours,

Dvorak to Simrock in Berlin. Reply to a letter in which Simrock reproached
Dvorak for having given the firm of Novello in London the publication rights for the
oratorio "Saint Ludmilla", and citing in that connection a contract dating from the
year 1879, according to which he had priority rights for all Dvorak's compositions.
Five children: after Otilie, Anna and Magda, two sons were born to the Dvoraks
Antonfn (1883) and Otakar (1885).

ioo. THE NEW SERIES OF "SLAVONIC DANCES", III.
Dear Friend, Vysokd, u. 6. 1886.

I have been here at Vysokd for six weeks, and, as the
weather is favourable and the country so lovely, I am better off
than Bismarck in Varzin, yet at the same time I am far from being
idle. I spend most of the day in my garden, which I keep in
beautiful order and love as I do "the art divine", and go rambling
through the woods. There is not much time for composing but
now it is going ahead briskly. I am enjoying doing the Slavonic
Dances immensely and am sure that this (the second series)
will be quite different (no joking and no irony!). They are not,
however, likely to be finished by July ist, but certainly will be
by the i jth, and then there will be time enough as they won't
be coming out before September in any case ?
More next time, Your

Ant. Dvorak.

D<vofdJi to Simrock. Farzin: the Prussian village which was the seat of the Bis
marck family. Dvorak at last set to work on the "Slavonic Dances", piano duets, op.
72, which he composed between the beginning of June and the 9th July 1886.

102

ioi. DVORAK TO LITTLETON

Vysokd, 22. 8. 86.
My dear Friend,

I am extremely glad to hear from you, you are pleased with
taking my wife to London, whaer we will remain till Noveb. 6.

Please don't send the letters to Prague. I seldom stay there
and all the letters from Prague send to Vysoka reach me allways
one or two days later.

We remain here on Vysoka till 20. of Septber, then we go
to Prague. I liwe Prague on Oktober i . and will be in London
3. or 4. of Octobre. Can you send me a timetabel? and a copy
of Ludmila?

Meanwhille

I am always respecthfully yours,

A. Dvorak.

Letter written in English.

102. "SAINT LUDMILLA" IN ENGLAND

-r- . , London, 18. 10. 86.

Dear Friend,

At last everything is over, my victory was tremendous and
I hasten to give you more details.

Saint Ludmilla made in general a great impression and was
the high point of the whole festival as all the London newspapers
write and which you will read in our papers in the next few days.
Such a choir and orchestra as is here I have not heard in England
yet. It was magnificent. But all words are vain. The welcome
I got from the audience, the choir and the orchestra was so hearty
and sincere that I was almost carried off my feet.

During the performance, nearly every number was received

103

with storms of applause and at the end of Part I, the audience,
choir and orchestra broke out into such cheers that I felt quite
queer.

At the singing of the Aria by Albani "O grant that I may
kiss the dust from off thy feet", there was a death-like silence and
I was told that people were moved to tears. In short it was most
impressive. The choir numbered 350, the orchestra 120, and
the best voices and artists. After it ended (it lasted from 1 1.30
till 3 p. m.), the calls for Dvorak seemed interminable and I had
to bow again and again and the whole choir and orchestra waved
their handkerchiefs, and finally I said a few words to the audi
ence in English and thanked them for their warm welcome and
the excellent performance of my work, which again called forth
new storms of applause. In short it was a great day on which
I shall always look back with joy...

The weather here is miserable, continual fog and rain-
believe me I should be glad to be away from here, but it's no
use, duty calls and I must stay till the 6th November and then
with all haste to Prague.

Greetings to You and all Your Friends,

A. Dvorak.

Dvorak to A. Rus in Piseb.The oratorio "Saint Ludmilla" was written for the
Musical^ Festival in Leeds where it was also given its first performance, with Dvorak
conducting-, on October i5th 1886. This was his fifth visit to England this time accom
panied by his wife. The soloists were: again the famous Albani in the part of Ludmilla;
the contralto Patey as Svatava; the tenor Lloyd as Bofivoj and the bass Santley as the
hermit Ivan. The Sunday Times wrote after the performance as follows: "Our friends
of art in the north were very happy to have the celebrated Master for the first time
in their midst and, at the same time, very proud that a work of such importance
should be first performed at their Festival. The audience had already at the end of the
first part of Saint Ludmilla come to the certain conclusion that they had before them
a master work and greeted this, and other compositions by the Master, with real ovations.
And from that moment the success of the oratorio was assured." The work was again
conducted by Dvorak in London on October zgth and November 6th 1886.

IO4

103- SIMROCK AND THE NEW SLAVONIC DANCES

. . . Now that your Slavonic op. 72 has just come out, I must
tell you again how very delighted I am with these splendid pieces.
But-there's no help: they must be orchestrated-they simply
shout for iti ! And, Donnerwetter! if you don't do it yourself soon
I shall have to ask somebody else to and don't go promising
England any more works I shall confiscate them!!!

Simrock in Berlin to D<uordJi in Prague, zi. X r8S6. The second series of eight
"Slavonic Dances", op. -jz was originally vrritten, as was the first, as piano duets (see 99).
The instrumentation for orchestra was realized by Dvorak in December 1887. No
works for England, see 99.

104. DEDICATION OF "SAINT LUDMILLA"

Dear Friend, Prague, 1817/1186.

Thank you for your kind letter and for your congratula
tions on the first performance of Ludmilla in England.

I know that all this gives you real pleasure and that you
follow my every step with intense interest, and, besides, you
and your choral society "2erotin" have given me so many proofs
of your sincere love and favour that I do not know how I could
show my gratitude. And so I thought that I should do well if, as an
expression of the high and fully merited respect which I have
for your truly artistic achievements there were written at the
head of the voluminous score of "Saint Ludmilla" the following:
Dedicated to the Choral Union "Zerotin" in Olomouc

by Antonin Dvorak.

Accept then this gift from me and, at the same time, I wish
You and Your Zerotin every success,

Your deeply devoted A , , -^ v^i

r 7 Antonin Dvorak.

D<uordk to, P. Geisler tn Olomouc. P. ]. Geisler and "2erotfn" see 84.

105

105. AN ACKNOWLEDGEMENT

Prague, 12/2 87.
Dear Friend,

Allow me to thank you for your warm and appreciative
notice of Ludmilla in today's N. Listy. Do not be surprised that
I do so. An artist who feels and thinks and has learnt something
about his craft, and knows that in creating his work he gave his
whole soul to it, is always glad when among many, be it only
one voice is found of which he can say: "Here is one who has
understood me." And this you have done today. For which my
warmest thanks.

With the expression of my friendly respect,
I remain, Most sincerely yours,

Antonin Dvorak.

Dvofdk to J. B. Foerster see 15. The letter refers to Foerster's notice of the ora
torio "Saint Ludmilla" in the Czech daily, Narodni Listy after the performance of the
work at the National Theatre in Prague on February 25th 1887.

106. SYMPHONIC VARIATIONS

Prague 18 28/3 87.
Dear and Honoured Friend,

I hear that you are going to London again in May to give
one of your concerts and I would take the opportunity to ask
you if you would not care to present one or other of my compo
sitions. I am thinking especially of the D minor Symphony which
you were good enough to perform this year in Vienna. Should
you, however, want only something new, then I would recom
mend a work which has not yet been published but which will
not remain so long if you give it its christening. It is a big piece
for orchestra... "Symphonic Variations" which I wrote in 1877

106

and had performed for the first time in Prague only recently.
Hoping that you will consider my suggestion favourably,
I am, Respectfully yours,

Ant. Dvorak.

Dvorak to Richter in Vienna. The Symphonic Variations for large orchestra, on a
theme from the choral work "Guslar" for male choir, was completed in September 1877
as op. 40, but was not published till 1877 and then under op. 78, by Simrock. For its
performance under Richter in London see 107, 109 and no.

107. RICHTER AND THE ''VARIATIONS"

Vienna, Wanting,
Most honoured Friend, Sternwartegasse 56,

I am a poor overworked man : may that be my excuse to you
for not having written to you immediately after the performance
of the "Scherzo capriccioso" and the D minor Symphony. Your
letter made the general rehearsal of such a bit of rubbish as
"Harold" (by our choirmaster Pfeffer) slightly less painful and
I am glad to seize the opportunity to come into contact with a
musician by Divine grace. I had intended, in any case, before
fixing my London programme, to inquire of you whether you
had not something for me. Now your Symphonic Variations
come as a splendid embellishment of my programme: and so
are also accepted with warmest thanks as certain. Kindly send
me the score as soon as possible to the above address, the orchestra
parts then to Mr. N. Vert, 6, Cork Street, Burlington Gardens,
London W. I should like very much to perform this work at one
of my first programmes. The "Scherzo Capriccioso" I have al
ready included in my programme.

How often has the D minor Symphony been performed in
London ? This work is a great favourite of mine (perhaps my
greatest) but I must, out of consideration for the promoters, be

107

careful not to give something that has been frequently heard,
though I may say without arrogance, that only a dramatically
trained conductor, a Wagnerian (Hans Biilow will forgive me)
can do full justice to this Symphony. Send me a few lines about
the number of the London performances : on that will depend
whether I can perform the work this season.
With warmest greetings,

Your ever devoted TT r>- ^

Hans Jtucnter.

Richter to D-vofdk in Prague. March 3ist 1887 Dvorak's Sctterzo capriccioso, op.
66 for orchestra was composed between April 6th and May 2nd 1883 and was performed
under Richter with the Vienna Philharmonic on Dec. ist 1886, the D minor Sympho
ny, op. 70, (see 81) on Jan. i6th 1887.

108. DVORAK THANKS RICHTER

My dear friend, Pra ue ' l8 4/4 87.

I am most thankfull for your last letter, which gave me so
much pleasure and I asure you on reading it I was affected to
tears. I am fully awere that you are the only man and musician
(among so many others), who understands me quite well and to
whom I must always be obliged, having done so much for me.
I can't but express my feelings of greatest gratitude to you for
the kindness in performing my new composition I offered to you.
I shall not fail to send you the full score as soon posibel. The
orch. part you find in London. As I remember, the Symfonie
D minor has been performed only once under my direction at
the Filharmonic Concerts 1885 an( ^ 7 OU can gi ye as much as you
please. Repeating manny many thanks to you,

I remain sincerely yours A -^ v . f

J } Ant. Dvordk.

Dvorak to Richter m Vienna. The letter was written in English. For the first
performance of the D minor Symphony in London see 84.

108

109. RICHTER REQUESTS THE SCORE OF THE
"VARIATIONS"

My dear friend, Wahring, 9. April 1887.

Many thanks for your letter. I enjoyed it as a sign of your
friendship, and as an instance of your perfect English, too.
Please to send the score of the "Symfonische Variationen" as
soon as possible.

With kind regards. Yours sincerely,

Hans Richter,

Rtchter in Vienna to D=uofdk in Prague. Written in English.

1 10. RICHTER TO DVORAK FROM LONDON

_. , j -n j 13- V. 1887.

Dearly esteemed Friend,

I come positively carried away by the first rehearsal for
the Third Concert at which we are playing your "Symphonic
Variations". It is a magnificent work! I am glad to be the first
to perform it in London, but why have you kept it back so
long ? ? These Variations can take their place among the best of
your compositions. I shall send you news of the performance.
With kindest regards, Yours,

Hans Richter.

They will be on the programme of the next Philharmonic
Concerts in Vienna.

The Symphonic Variations were performed by the Philharmonic Society at the
Crystal Palace, with Richter conducting, on 15. V 1887.

IO9

in. A LETTER OF THANKS

Dearly esteemed Friend,

Yesterday I received your letter and programme which gave
me great pleasure. May Heaven give you thanks for my pen is
too weak to put into words what I felt on reading your letter.

And the splendid orchestra! Express, I beg you, a thousand
thanks, in my name, to your valiant army! Mr. C. Barry also
sent me a few lines which I was delighted to get.

I am here with my family where I shall remain till the end
of September. It is a small village with plenty of woods where
we lead a quiet and happy life, and it would give me double
pleasure if you would once send me a few lines to Vysoka. Once
more my warm thanks for your kindness and a hearty hand
clasp from

Your devoted

Ant. Dvorak.

Vysoka by PHbram, Bohemia,
18 23/5 87.

Dvorak to 'Richter in London. According to Dvorak's letter to Simrock dated
29. V. 1887, Richter wrote to Dvorak in Prague after the performance of the Symphonic
Variations: "Your Symphonic Variations had an enormous success and at the some hun
dreds of concerts which I have conducted during- my life no new <work has ever had such a
success as yours." This letter is Dvorak's reply. Charles Aindie Barry (1830-1915), an
English writer on music and composer who wrote the programme notes, in the form of
an analysis of the works performed, for London concerts.

112. DVORAK ON HIS MASS IN D MAJOR

Dear Friend, Vysoka 18 17/6 87.

I have the honour to inform you that I have successfully
concluded my Mass in D major and that I am truly satisfied
with it. I think it will be a work which will fully answer its
purpose.

It would be possible to enumerate: Faith, hope and love to
God Almighty and thanks for the great gift of being enabled to
bring this work in the praise of the Highest and in the honour
of art to a happy conclusion.

Do not wonder that I am so religious. An artist who is not
could not produce anything like this. Have we not examples
enough in Beethoven, Bach, Raphael and many others?

And finally my thanks to you for providing the impulse to
write the work in such a form, otherwise I should hardly have
thought of it; for before this I always wrote works of such a
kind on a large scale with a large number of performers. This
time the artistic means employed are very modest and yet
I dare to assert that the work has turned out well . . .

My respectful compliments to Yourself and to

Madam, your wife, A ^ ^ vt ,

J Ant. Dvorak.

Dvordk to Josef Hldvba in Prague. Architect Josef Hld-vka (1831-1908), Czech
patron of the arts, founder and first president of the Czech Academy of Sciences and
Arts. His wife, Zdenka, was a good pianist and a sincere admirer of Dvorak's music.
Hlavka, who held Dvorak in high esteem, asked him to write a mass for the dedication
of the chapel on his estate in Luzany in Bohemia (now the property of the Czech Ac
ademy of Sciences). Dvorak wrote the Mass in D major, op. 86 (March a6th to June lydi
1887), which was first performed under his direction at the Castle Chapel in Luzany on
September nth 1887. The Mass was originally composed for choir with only organ
accompaniment but when the firm of Novello in London later decided to publish it
(1893), Dvorak provided the instrumentation for a small orchestra.

113. DVORAK'S PIETY

A characteristic feature of Dvorak's nature was his piety^ but
a sincere piety not asking anybody to deny their own religious
views, a piety, which was rooted in his own heart and awakened
only respect in everyone who recognized it for what it was.
Dvorak's piety was perhaps connected with his love for Nature,
and, in Nature, especially with the singing-birds for which he
cherished an almost child-like affection. Dvorak was convinced

to the depths of his being that over the world there watches a
higher power which directs everything for the best: and he was
devoted to that power with fervour and gratitude. Not long
before Dvorak's death, I was travelling with him by train to
Pribram : on the way his attention was attracted by the limestone
rocks near Beroun and seeing work there in full swing called
forth the observation that these resources, too, would be ex
hausted in the course of time. I put his fears at rest by saying
that even if the whole of Bohemia was exhausted, the Limestone
Alps alone would suffice for the whole of Europe. "And who
contrived it so ?" with which question the conversation conclu
ded. Proof of Dvorak's piety are also his manuscripts, which
regularly begin with the date and "With God" and end with
the date and "God be thanked" ; proof of his piety, too, are Dvo-
fak's sacred compositions, above all one of the most religious
works that I know Stabat Mater. But Dvorak's piety was a
piety of the heart, of one who is devoted to God from convic
tion and not to some particular religious community. The same
Dvorak who devoted his art to a text of the Catholic confession
glorifies without hesitation in the Hussite Overture the most
glorious period of our history when Catholicism was overpow
ered by Hussitism, and I think nobody would be more surprised
than he if anyone should see in that composition a proof of his
religious insincerity or lukewarmness.

Dr. Zubat$ (see 8) : From "Recollections of Ant. Dvorak" .

1 14. DVORAK TO HANS VON BULOW IN BERLIN

Prague, 18 15/10 87.

TV , j T- j Zitna ulice 10.

Dear and esteemed Friend,

I hear and read in the papers that you kindly intend to
perform at your concerts, probably in Berlin, my Hussite

112

1 1. Music publishei Heniy Littleton

Overture. It is a new proof of your goodness and friendliness
towards me, which I value immensely, and for which I owe you
a great debt of thanks this time, however, I should take the
liberty of asking this of you : would it not be possible to perform,
in place of the Overture, perhaps my D minor Symphony which
has not yet been heard in Berlin ? Or is there not perhaps some
other work, maybe the Serenade for wind instruments ?

I do not in any way wish to insist but, considering that the
Philharmonic played it once already with Joachim, I should
be glad if you would be so good as to give preference to some
other work.

And lastly, I am so bold as to remind you of your kind pro
mise in connection with Dimitri. The opera has been translated
by Mrs. M, Kleinschrod-Stieler in Munich and I am expecting
to get it very shortly accompanied by a full German text. If you
take the fate of my work into your masterly hands, I have no
doubt it will go round the world.

With the expression of my deep respect and gratitude,
I remain. Your most devoted

Antonin Dvorak

Hans von Eulyw (1830-1894), an eminent German conductor and pianist, was a
sincere admirer of Dvorak's music and m Germany frequently performed the Hussite
Overture for which he had a particular liking. Dvorak requited him by dedicating to
him his Fifth Symphony the F major Symphony from the year 1875, which Simrock
first published m 1887 as op 76 (see 117). The Philharmonic: Philharmonisches Orchester
in Berlin.

115. HANS BULOW REPLIES FROM HAMBURG
Honoured Master,

It would give me great pleasure if I could, in accordance
with your wish, perform the D minor Symphony instead of the
Hussite Overture.

I am afraid, however, that I shall meet with difficulties:

the concert director, Hermann Wolff, has already accepted for
the Philharmonic Concerts a great number of new symphonies,
for instance those of Gernsheim, Strauss, Stanford (to be con
ducted by the authors in person) and the greater part of the
public wishes to hear well-known old-classical works. Never
theless, on my next visit to Berlin I shall try to bring about the
change of programme you desire. It would be a great help if
your publisher would intervene and make the request directly
to concert director Wolff: they both live in the same street etc.

Forgive my haste I am overwhelmed with rehearsals.
I recommended your Dimitri to director Pollini some time ago
in the warmest terms (it is in fact the only musical drama of more
recent date that I suggested to him as being worth producing
he, however, (without my having the least idea) has bought
Smetana's Dalibor, which will now be given priority. Let us
hope that it is merely a matter of postponement.

With the expression of my deep respect,

I remain, Your entirely devoted admirer,

Hans Biilow.
17. X. 1887

See 114. The D minor Symphony, op. 70, -was performed by Bdlow with the
Berlin Philharmonic on the 27th and z8th October 1889 (see -L^.Priednch Gernsheim
(1839-1916) and Richard Strauss (1864-1947), German composers, Sir Charles Villters
Stanford (1852-1924) an Anglo-Irish composer. Pollini see 55. In Hamburg- there
was no performance of either Smetana's Dalibor or of Dvorak's Dimitri.

1 1 6. BULOW AND THE "HUSSITE" IN HAMBURG

...The composition which, alongside Smetana's "Tabor",
must be considered the most. splendid musical embodiment of
the Hussite idea, deeply affected the audience through its spir
itual power, its unusual originality and its irresistable force of
expression, and excited among musicians real enthusiasm. I have
yet to see the musicians here in such an ecstasy, and when,

114

after the first part of the programme, that is just after the "Hus
site", we met Billow in the press room, it seemed to me as if we
had all just come straight from a Hussite battle, fought to a
victorious conclusion, and, with enthusiastic clamour and re
joicing, were crowding round the great commander to pay the
tribute of our fervent gratitude and boundless admiration.

Dr. Lude-uit Prochdzka on the Hussite Overture in Hamburg in November 1887.
Dr. L. Prochazka (1837-1888), Czech musical critic and writer, an ardent propagator
of Bedfich Smetana and Dvorak, was living at this time in Hamburg with his wife,
Marta, a noted singer and member of the Hamburg Opera.

117. BULOW ACKNOWLEDGES A DEDICATION

Honoured Master,

The dedication from you along with the composer, Brahms,
the most favoured of God of the present time is a higher distin
ction than any Grand Cross from any Prince. I accept the honour
with the warmest thanks.

Your respectful and devoted admirer,

Hans Btilow.

Hans *uon Bftla<w in Hamburg to Dvorak, 25. XI. i88j. For Dvorak's dedication
of the F major Symphony see 113.

1 1 8. SIMROCK ON DVORAK

. . . Amazing what an amount of music that man has in his
head, and in spite of or better because of his taciturnity (accord
ing to his wife they call him in Prague the Czech Moltke) a
delightful person! And then he hangs on you with adoring

respect and also speaks in that way; he wants to go to Vienna
as soon as possible to see you.

SimrocJi to Brahms in Vienna, 29. X. 1887. Dvorak's wife was an excellent con
tralto and sang the solo parts for contralto in some of her husband's oratorios. Moltke:
evidently Count Helmuth B. Moltke, the Prussian Field Marshal.

119. RICHTER INVITES DVORAK TO VIENNA

Vienna, Wahring, Cottage,

Sternwartegasse 56. i. Nov. 1887.

My dear Friend,

Would you be kind enough to accept my invitation to be
my guest during your stay in Vienna? You would do me a
great favour. You will find a quite comfortable chambre and
you will not be disturbed at all. Please send a consenting Post
card.

Ever yours truly,

Hans Richter.

Reply in English to the letter in which Dvorak thanks him for his readiness to
perform the Symphonic Variations and Stabat Mater in Vienna. See also 120.

120. RICHTER'S INVITATION ACCEPTED

-r* T? j 1 8 </ 1 1 87.

Dear Friend, ->' '

Many thanks for your kind invitation and I shall be very
pleased to stay at your house. I am bringing the Variations with
me-the score and parts you had in London. As you have your
first Philharmonic Concert on November ijth, I hope there

116

will be a rehearsal on Friday and Saturday when, if it is possible,
you could make use of the opportunity to play through the
Variations half-an-hour at the most would do it.
Au revoir then in Vienna.

Your devoted

Ant. Dvorak.

If I arrive in Vienna (Franz Joseph Bahn) at 10 o'clock at
night, can I still get a cab to your place in Wahring ? But I should
not like to trouble you so late.

Perhaps I shall come in the afternoon at 3 o'clock (Nord-
bahnhof) but on what day I cannot say yet. In any case I shall
go straight to Wahring and seek you cut.

Reply to the preceding letter (119) Dvorak was thus in Vienna twice as Richter
did not perform the Variations with the Vienna Philharmonic till December 4th 1887

121. THE "VARIATIONS" IN VIENNA

... I spent some wonderful hours with Brahms ; it was also
the only recompense for the tiring journey to Vienna. As Brahms
says and he knows the Viennese public only too well: no com
position has ever taken on like the "Variations". The work was
magnificently played and the audience was generous with its
outspoken praise.

Brahms presented me with a lovely cigar-holder for my
"Variations"...

D-vordk to Simrock in Berlin, 6. XII. 1887. See 120.

117

122. HARD AT WORK ON "THE JACOBIN"

. . .1 had a great deal of discussion with Dvorak and am glad
that we reached agreement about various things, especially the
beginning of the third act (of Jacobin). Dvorak had only one
misgiving that for such an allegory you can only write pleasing,
more serious and fey-like music and that a teacher could not
write such music; that a teacher can only write something funny
and nothing really beautiful and that the moment it is attributed
to a teacher it must have a comical character (he thinks it would
have to be parodied, which is impossible in an allegory).

I argued that teachers compose also serious works and
masses, whereupon he replied: "That's just it, all the masses
are funny, I know them." And in short he kept to his point
that he can only write an allegory if the remark is omitted that
it was composed by a teacher. Stroupeznicky, on hearing my
discussion with Dvorak, said: "Now at least I have learned
something and see that nobody can write a libretto who has not
some idea of music." This because Dvorak was saying every
little while: you see I need a rhythm like this-and instead of
saying an iamb, a trochee or a dactyl etc., he began to whistle a
melody or took a piece of paper and jotted down a melody on it.
I shall have a lot of work still with the second act in which a
number of changes will have to be made. But as long as he does
not interfere with the plot and does not spoil the dramatic pas
sages I gladly accommodate him in other things for they are un
doubtedly demands made by the music and must be paid heed
to...

Marie Cervinkwd (see 48) to her father, Dr. F. L. Rieger, 8. III. 1888. After
the opera "Dimitri", Cervinkovl wrote the libretto for the opera "The Jacobin",
the music for which was not composed till after long delays at the end of the year 1887.
The sketch for the opera was begun on the loth November, the score completed between
the 2ist March and the i8th November 1888. It is one of Dvorak's most popular operas.
The action takes place in a small Czech town at the time of the French Revolution and
one of the chief characters is that of the very attractive country teacher-musician.

118

1 2 3 . DVORAK'S CREATIVE ABSORPTION

. . .With the composition he was working on he was usually
in love. When he was writing "The Jacobin", he told me with
shining eyes that no composer had composed to such a lovely
libretto. "There's a village teacher there, a character, I tell you,
you could go daft about." In 1896 when he was finishing "The
Wild Dove", I met him on Vaclavske namesti. He told me what
a delightful musical theme it was. "And when the widow goes
to the churchyard, the dove coos; the woman is seized with
despair and jumps into the water, and the dove coos again."
I had never heard him give such a truly lively and epic descrip
tion . . .

Ladislaxj Dolansty (see 73) in his book "Musical Memoirs" .For the composition
of the opera "The Jacobin" see 122, and 123; the symphonic poem, "The Wild Dove",
op. no, see 207.

124. THE SOURCES OF DVORAK'S INSPIRATION

One moment always revealed to me as in a flash the secret
of his creation. He had not worcts sharp enough for Skroup's
"Kde domov muj" he would have composed a new Czech an
themand not long afterwards he is composing the music on
Skroup's motifs to "Kajetln Tyl". He is turning over the pages
of Berlioz' "Requiem" with every sign of irritation and soon he
announces the publication of his own Requiem. I see him with
Liszt's Saint Elizabeth, and very soon London is listening to
Dvorak's Saint Ludmilla. Only a great composer can follow in
the steps of his great predecessors. Was he inflamed by the same
exasperation to create his other compositions, his chamber music?

Leos Jandfek (see 14): from the book of "Reminiscences of Antonfn Dvordk".
Frantilek Skroup (1801-1862), Czech, composer and conductor, the author of several
operas and the music of the present-day Czech national anthem "Kde domov muj" to
words by J. K. Tyl (see 55).

119

125. WORK ON "THE JACOBIN" CONTINUES

Dearest Friend, / > ?/

. ..Yesterday I finished the score of Act I and am perfectly
satisfied with my work.

I think that this time those who have doubts about my
dramatic talent will be satisfied if not surprised. Just as "The
Spectre's Bride" and Ludmilla are the first among my works
(outside the theatre), I think "The Jacobin" will be the first
among the operas. You say you are coming to Prague one of
these days (about the 2oth). I may be going through Prague on
Saturday. I intend to go away somewhere and at the same
time I should like very much to visit you at Sychrov.

Write me a line!

Kind regards from my wife and a special embrace to your
self,

Your sincere friend, , , -r\ v/i

Antonin Dvorak.

Dvorak to A Gobi at SycArov.For the composition of "The Jacobin" see 122.-
The country mansion at Sychrov was the property of the Rohan family.

126. "THE JACOBIN"-SATISFACTION

. . . Early in the morning visitors arrived. Dvorak came with
a broad smile which he reserves for occasions when he is in a
specially good mood. He had come, he said, to congratulate me
as he was not able to come yesterday, and I could not help saying
to him that now perhaps he could judge whether the musical
critics were right who for so many years discouraged him from
composing the libretto...

Marie Cervinkova in her diary, 13. II. 1889, after the premiere of the opera "The
Jacobin" which took pkce at the National Theatre in Prague on the izth February

I2O

1 27. THE BEGINNING OF A FRIENDSHIP

27th March, 1888.
Vienna.

My dear, good and highly esteemed Friend,

Although it is terribly difficult for me to write in German,
I must make use of this Panslav language to tell you that I have
often thought of you and that I shall never forget how well and
kindly you received me in Prague. I stayed for 3 x / 2 weeks in
Paris (where my concerts were very successful), then in London
where everything went off equally well, and now I am re
turning to Russia and am only passing through Vienna. Dear
Friend, give my kindest regards to Madam, your wife, and
allow me to say once more that I am very glad and happy to
have won your valued friendship. I hope we may see each
other again in November. With a hearty hand-shake,
I remain, Your true friend,

P. Tchaikovsky.

P. S. The orchestra in London is very good and the way
these people read from sight is quite amazing. We often spoke
of you and your Symphony is awaited with impatience. My
hearty greetings to Bendl, Fibich, Kovafovic, OndHcek jun.,
Neruda, Cech, Anger and all good friends. Au revoir!!!

In 1887, Peter lljich Tchaiko'us'ky (1840-1893) made a. concert tour of the town
of Western Europe, as a successful conductor of his own works. He was in Prague for
the first time in February 1888 when he conducted two concerts. He made Dvorak's
acquaintance at an evening held in his honour on February i4th and the day following
visited Dvorak at his fiat. At a dinner given by the Russian Circle on February i6th,
DvoHk replied to the Czech toast of the Russian guest, whereupon Tchaikovsky
requited him with an embrace and a reference to "his newest but warmest bond of
friendship with the great Czech, Antonin Dvorak." The impatiently awaited Symphony;
in April 1888, August Manns presented Dvorak's F major Symphony in London (see
also note to 114). Z<afcn//$ Ftbtch (1850-1900), Karel Ko-varcwic (1861-1920), noted
Czech composers, especially in the sphere of dramatic music. Ondftfek jun., i. e. Karel,
at that time leader of the orchestra of the Prague National Theatre, brother of Frantisek,
the violin virtuoso; Alois Neruda, violoncellist, Adolf Gech (see 9) and Mofic Anger
(see 12), conductors of the National Theatre orchestra.

121

128. FURTHER TRIUMPHS ON ENGLISH SOIL

Birmingham,
p. P . , Wednesday, 2 9th Aug. 1888.

Yesterday's performance of "Stabat Mater" was a splendid
triumph for your lovely work. Have you something new for me
for Vienna ? I shall be back on the 4th August.
With kindest regards,

Ever yours truly,

Hans Richter.

Richter in Birmingham to D<vord$ at Pysokd.Qn August 28th. 1888, Richter
conducted "Stabat Mater" at the Birmingham Musical Festival.

129. DVORAK TO TCHAIKOVSKY ON "ONEGIN"

Prague, 14/2 January 1889.
Dear Briend,

When you were last here in Prague I promised to write to
you about your opera "Onegin". Now not only your request
compels me to do so but my inward desire to tell you all that I felt
on hearing your work. I confess with pleasure that your opera
made a very deep impression upon me an impression such as
I expect from a true work of art, and I do not hesitate to say that
none of your compositions has given me such pleasure as Onegin.

It is a splendid work, full of warm feeling and poesy, and,
at the same time, worked out to the last detail; in short, this
music speaks to us and penetrates so deep into our soul that it
is unforgettable. Whenever I go to the theatre I feel as if I were
in another world.

I congratulate you and ourselves on this work and pray
God you may be spared to give the world many more such com
positions.

With a warm embrace,

Your devoted

Antonin Dvofak.

In autumn 1888, Tchaikovsky came to Prague for the second time to conduct
another concert of his awn works held on November 3Oth and the Czech premiere of his
opera "Eugen Onegin". It is to this latter event that Dvorak's letter refers.

130. TCHAIKOVSKY THANKS DVORAK

30/18 Jan. 1889.
S. Frolovskoje
Dear, beloved and esteemed Friend,

You cannot imagine how delighted I was with your letter.

I value very highly your opinion of my opera not only be
cause you are a great artist but also because you are a man that
is frank and sincere. I am exceedingly proud and happy that I
have been able to deserve a sincere word of commendation from
you, my dear Friend. I thank you once more from the bottom
of my heart.

Forgive me for not answering your letter immediately. In
spite of all my efforts to read your letter I could not understand
it although I guessed that its content was agreeable. The letter
had to be sent to Moscow, to Hrimaly, to be translated and the
translation reached me only today.

About ten days ago I sent a letter to A. O. Patera request
ing him to discuss with you in detail your journey to Moscow.
I have not, however, so far received an answer. I beg you, dear
Friend, give your consent and come, it is the great wish of all of
us here.

123

My compliments to Madam, your wife, and to all our mu
tual friends: Bendl, Fibich, N. P. Apraksin, Marie Federovna
etc.

With a warm embrace, dear Dvorak,

3 P. Tchaikovsky.

Written in Russian. Jan V. Hrimalj' (Grzhimali) (1844-1915), teacher of violin
at the Czarist Conservatoire in Moscow and leader of the Moscow Symphony orchestra.
Adolf Patera (1836-1912), librarian of the Czech Museum in Prague and an ardent
promoter of Czecho- Russian relations.

131. TCHAIKOVSKY INVITES DVORAK TO
RUSSIA

Leipzig, i. March 89.
My dear Friend, 17. February

A. O. Patera informs me that you are willing to conduct
a concert next season in Moscow. You have no idea how de
lighted I was with this news.

Thank you, dear Friend. You are doing our Moscow Mu
sical Society a great honour and I am sure that Moscow will
know how to return thanks.

Now it is necessary, however, to settle two questions :

1 . The time of your arrival and

2. the remuneration for your work.

Our concerts are fixed for the following days :

1889 November ..... 2. 9. 23. (new mode)
December . . . . . 7. 21.

1890 January n. 18.

February 7. 14. 21. 28.

March 4.

Be so good as to let us know which of the suggested days
suits you best.

124

Such an excellent and outstanding artist as you are should
be paid for his trouble with heaps of gold. As it is, the re
sources of our Society are not so ample as to be able to give you
a fee such as the greatness of your name would call for. We could
offer you only about 800 roubles (about 1000 gulden) to defray
your travelling expenses.

Be kind enough, dear Friend, to send me an answer to these
two questions as soon as possible. Address it to Wolf (Berlin
W. 19 am Carlsbad).

If you write in Czech, then please ask our mutual friend,
A. O. Patera, to enclose a translation.

I was very sorry not to meet you in Dresden.

With kind regards to your Wife,

Your sincerely affectionate friend,

P. Tchaikovsky.

Written in Russian. A. O. Patera see 130 Tchaikovsky's invitation to Dvorak
to hold concerts in Russia was accepted Dvorak was in Russia in March 1890 and con
ducted a concert of the Tsarist Musical Society m Moscow on the nth March and a
concert in Petrograd on the 22nd March (see 136). Wolff: the Berlin concert director
Hermann W. On the i3th March 1889, Dvorak conducted a concert of the Dresden
Philharmonic Orchester (F major Symphony, Nocturne op. 40 and the II. Slavonic
Rhapsody).

132. NEW COMPOSITIONS FOR PIANO

Dearest Friend, ^^ ' 4/6 ^

I have been at Vysoka since the 6th May and have not been
to see you yet! It is terrible! But what's to be done when I am
not as I used to be. To travel what a delight it was for me for
merlyand now ? I am glad when I can sit at home. But 3 again,
my longing to see you is greater and greater and so I think I shall
be visiting you shortly. I have just finished writing 1 3 compo
sitions for piano solo. An ominous number, but that was the

125

number of the Moravian Duets, too, and yet they have gone
round the world quite a bit. Perhaps it will come off again.
I have a journey to Berlin in connection with them and if I re
turn the following week via Leipzig, Cheb and Plzen, I shall
look in and see you. Goodbye for the present, and au revoir!
Your affectionate friend,

Antonin Dvorak.

Dvorak to A. Rus in Pisek (see 81). 13 compositions: the cycle Poetic Tone-Pictures
for pianoforte, op. 85, composed between the lyth April and the 6th June 1889. The
proposed journey to Berlin fell through owing to illness in Dvorak's family.

133. AN OFFER DECLINED

Dear Sir,

Permit me to inform you that after carefully weighing all
considerations, I am unable to decide to accept this high post at
the Prague Conservatoire, and certainly not least because I am
afraid that I should not be able fulfil all my duties as I should
like to, and then, being so overburdened with my work and ex
tensive journeys abroad, I am afraid that it might cause only
trouble both to the Conservatoire and myself.

Thanking you, dear Sir, for your kind offer,
I remain, Your devoted and obliged,

Antonin Dvorak.

Dvordk to JUDr. Josef Tragy (1830-1914), lawyer and secretary of the Union for
the Advancement of Music in Bohemia which administered the Prague Conservatoire
of Music and was preparing for the amalgamation of this institute with the Prague
Organ School for the year 1889-1890. The resolution that Dvorak should be appointed
teacher of composition was taken on Jan. 25th 1889. Dvorak, however, declined the
offer and only complied with a second resolution of the Union taken in October 1890
(see 141).

126

134- SELF-DISPARAGEMENT

...There was a lively scene at Urbanek's shop when the
question came up of Dvorak becoming a teacher at the Conser
vatoire. "Me a teacher ? Get away with you! My duty is to write,
do you understand and not to teach. I am too much of an old
bear, and nobody will get me into doing that." Fortunately
they did win him for that work and how mistaken had been his
earlier view was proved by the young generation which was
trained under his guidance.

Ladislaru Dolansty (see 73); from the book "Musical Memoirs". At Urbanek's:
i. e. the music shop of Fr. A. Urbanek in Prague (see 50).

135. DVORAK'S SYMPHONY IN HAMBURG

...Dvorak's Symphony was exceptionally successful, it was
magnificently played because also conducted, much better, more
plastically and a coeur than in Berlin. It was the most successful
concert, this fourth one . . .

Hans <von Bitlyw (see 114) in Hamburg to H. Wolff in Berlin, ai. XI. 1889.
Bulow conducted Dvorak's D minor Symphony, op, 70, the composer being- present,
on the 2.7th and z8th Oct. 1889 in Berlin and shortly afterwards in Hamburg (see 1 15).
H. Wolff see 131.

136. DVORAK IN MOSCOW AND PETROGRAD

,-. p . , Petrograd, Sunday morning.

I promised that I would write to you and I am doing so now.
Before you get this letter you will perhaps know from the papers
how it fell out in Moscow in my view well but not so well as
I expected.

127

...That does not matter, however, for I still won a great
moral victory in Moscow, at least so I was told in musical circles
and the orchestra was greatly taken with my compositions and
played with real enthusiasm.

The German "Gesangverein" is giving Stabat Mater today
in Moscow, and at the church they showed me great attention.
I was at the rehearsal and everybody was deeply affected and
they gave me a laurel wreath. The director of the Society here
is a certain Bartz, my ardent admirer. He wrote, too, about the
concert to the Narodni Listy and sent the same notice to the
Neue Freie Presse and Politik. At a banquet at the "Slav Ba
zaar", he had a moving speech and sang my praises.

In Petrograd, on the other hand, my concert yesterday in
the "Dvorjanskoe sobranie" turned out splendidly for me. The
public and the orchestra gave me a very hearty reception and
after each movement of the Symphony it was the First in D major,
there was great applause and after the Capriccio I had to bow
repeatedly. At the Evropa Hotel, Rubinstein (President of the
Russian Musical Society) gave a banquet in my honour. It was
short but all the heartier. Rubinstein toasted me, Auer, the
violinist, drank to the new Doctor of Music (all the papers had
a telegram from Prague and so I was pleasantly surprised to
learn of it here) I then drank a health to Rubinstein, whereupon
the most outstanding musical critic and scholar (they call him
"the Russian Hanzlik"), Laroche, toasted me most elegantly and
said that the Czechs, though a small nation, stand high in
science and art and wished that young Russia would follow our
example. He writes for the Moscow papers and the literary
papers here etc. The papers (Petersburg Gazette) brought a
notice previous to the concert as did also the Deutsche Moskauer
Zeitung about Stabat Mater and I send you the programme
from here.

I am leaving this afternoon for Prague.
Your ever grateful

Antonfn Dvorlk.

128

13 Dvorak and his wife in London

o
Q

Dvordk to his friend, Gustcru Eim in Fienna, 23. III. 1590. Eim (1849-1897)
was a Czech deputy in the former Austrian Reichsrat in Vienna and the Vienna corres
pondent of the Prague daily, Narodni listy. For Dvorak's invitation to Russia see 130.
In Moscow Dvorak played, in addition to the Symphony mentioned, the I. Slavonic
Rhapsody, the Scherzo capriccioso, the Symphonic Variations and the Adagio from the
Serenade for Wind Instruments. Stabat Mater was performed by the Deutscher
Musikverein in Moscow on the 23rd March in the Church of St. Peter and St. Paul after
Dvorak had left for Petrograd. Johannes Bartx (1848-1933), composer, organist and
choir-master in Moscow. The celebrated Russian composer, Anton Rubinstein (1829-
1894), was at this time director, for the last year, of the Petrograd Conservatoire and Pre
sident of the Russian Musical Society. Leopold Auer (1845-1930), a Hungarian violin
ist, from 1868 teacher at the Conservatoire in Petrograd. Herman A.Laroche (1845- 1904),
a distinguished Russian music critic and writer, an intimate friend of Tchaikovsky.
"The new Doctor of Music": in March 1890 the Academic Senate of the Charles Uni
versity in Prague awarded Dvorak the honorary degree of Doctor of Philosophy.

137. DVORAK ON SMETANA

. . . Dvorak was very modest. I never heard him glorify Kim-
self at the expense of another composer, or speak of any with
contempt. On the contrary, in every one, even the least signi
ficant, he found some qualities which he liked . . .

In 1893 when Smetana's Symphony was being rehearsed
for the XXV. Popular Concert, Dvorak suddenly came in to see
Velebin Urbanek and said in my hearing: "I have just been at
a rehearsal of Smetana's Symphony. Man alive, that's a Scherzo 1
I'll never write anything like that if I live to be a hundred."

From "Musical Memoirs" by L. Dolansty (see 73) Bedfich Smetana wrote his
"Triumphal Symphony" in E major to which reference is here made, in 1853.

138. DVORAK'S REQUIEM

^ _ . , Vysoka, 18 12/8 90.

Dear Friend, J

You must know how it has long been my wish to see you
here with us at Vysoka, and it is a pity that as yet it has not been
possible-I hope, however, that you will be able somehow to

129

manage to come to us this year if only for a short time, perhaps
some Sunday or holiday.

I have finished the Requiem and now am scoring it and
should be very glad to hear your sincere opinion of it. I am very
hopeful and think, but I know it is so for certain, that I have
succeeded in making another step or more forward, as compared
with, for instance, Stabat Mater or my other larger works.

So I invite you once more to come if you possibly can and
thereby give great pleasure to

Your sincerely devoted friend,

Antonfn Dvorak.

Dvofdk to his friend Emanuel Chvdla (see 71). Dvorak worked at his Requiem
for solo voices, choir and archestra, op. 89, from the rst January to the 3 ist October 1890.

139. VIENNA PERFORMANCE OF THE NEW
SYMPHONY IN PROSPECT

TT Prague, 18 16/10 90.

Honoured Friend, ' 7

A thousand thanks for your kind and cordial letter which
is once more for me an irrefutable proof of how, from the first days
of our acquaintance, up to the present and I hope for all days
to come you have vouchsafed me your dear friendship, for which
I feel myself, honoured Friend and Patron, eternally indebted
to you. May God reward you for it! I have nothing, I cannot
do anything only my heart, my feelings say to me: "Keep to
the path which leads us to the highest goal of noble art and
therein will lie the greatest reward you can give!" And now to
the matter in hand. I shall send you the score and parts a few
days before the performance, which I regard as a high honour
especially as being vouchsafed by you and your splendid Philhar
monic, I thank you very, very much! How I am looking for-

130

ward to it! For your kind invitation to your house accept my
best thanks. So far so good but will the success be accordingly?
Do you believe in it ? But your friendly letter, the delight which
you have in the work augur well for its success and so I may
hope that your art as a conductor will again, as so often in the
past, bring me a happy day. With warmest greetings and kind
regards to Madam, your wife,

I remain, Your ever grateful

Antonin Dvorak.

Dvorak to RtcAter in F'isnna.'The letter refers to the new, now the eight Sym
phony in G major, op. 88, of which Dvorak prepared the sketch between the 6th and
the 23rd of September and the score of which was completed by the 8th November 1889.
Dvorak himself conducted the first performance of this work on the and February 1890
with the orchestra of the National Theatre in Prague, and then on the 24th April of the
same year with the Philharmonic Society in London. Richter intended to perform the
Symphony with the Vienna Philharmonic on December 7th 1890, but, as a result of
changes in the repertoire of the Hofoper, had to postpone it to January 4th 1891 (see
142) so that Dvorak was able to conduct the Symphony before then at the so-called
Museum Concert in Frankfurt-on-Main (see 141).

140. ANOTHER POSTPONEMENT

TT .. _ . , irth November 1890.

Honoured friend,

Your manuscript-score comes into my house and I shall
guard it as the apple of my eye. The Symphony will be performed
at the 3rd Concert, i. e. on the 7th December. Massenet is here
with his new opera and so / shall not ha*ue the necessary number
of rehearsals as "Cid" is also being studied for the first time.
Truly disgusting !-Then I must have a number of new copies
made of quartet parts. I wish to give your work a perfect perfor
mance and for that I need time; and I shall have time after the
2nd Concert. So - December 7th!

Yesterday at Hellmesberger's I heard your new piano quin-

tet: really splendid. It gave me great pleasure and enjoyment.
You will come in any case to the 2 last rehearsals. Everything
is arranged and I hope that you will also be satisfied with the
presentation of your lovely work. Please send a card saying
when you will arrive in Vienna and at what station.
Your sincerely devoted

Hans Richter.

Richter to Dvorak in Prague See 139 and 142. The very successful Piano
Quintet in A major, op. 81 was composed between August i8th and October 3rd 1887
(see also 141).

141. APPOINTMENT TO THE PRAGUE

CONSERVATOIRE AND FURTHER SUCCESSES

Dear Friend, Prague, 18 1 7/1 1 9 o.

I have a lot to tell you, in the meantime only the most in
teresting items, so listen! I have accepted the professorship at
the Conservatoire (composition and instrumentation) and re
ceived a flattering letter from Prince Ferdinand of Lobkowitz.
in which he informed me that my appointment was received
with great satisfaction and unanimously.

Then I was in Frankfurt and conducted my new Symphony
and the "Hussite" with great success. It was wonderful 1 I wish
you could have heard the orchestra! 20 first violins, 20 seconds,
1 6 violas, 14 cellos and 12 doublebasses. Some papers wrote
against but others enthusiastically for my composition, perhaps
you have read them in the Politika ? I have just received a letter
from Richter in which he tells me that they will give my new
Symphony on December yth and that at the request of the Phil
harmonic and of Richter himself I must go to Vienna for it. In
short he writes to me about the Symphony in enthusiastic terms

132

and thinks that I shall be very pleased with the performance.
Of that I have certainly no doubt.

Then in Vienna last week they played (Hellmesberger) my
Piano Quintet which was also very well received. I am curious
what the papers will write now and especially Hanslik. The
work is being given everywhere in Germany and is greatly liked,
they say it will be popular. So you see how I am getting on.

Also my new piano quartet in E flat major is being played
in Munich and Frankfurt and is a great success.

And now I have just got a letter from England saying that
the University of Cambridge wishes to honour me by conferring
on me the degree of Doctor "honoris causa". What do you say
to that? I must go there, however, and receive the degree in
person. It is an elaborate ceremony and then I must conduct
Stabat Mater and one of my symphonies. It is, so I am told, a
rare distinction and the only foreign artist who has it is Joachim.
Of course it goes without saying that I shall accept it. The
Requiem is, thank goodness, finished, but if I give it to Novello,
Simrock will, so he says, take the matter to court. He wishes to
sue me but I am not afraid. Of this another time. I must finish
as I have no more room.

Your affectionate friend,

Ant. Dvorak.

D<uordk to A. <3o/(see 33) at Sychrov, The choral and musical society "2erotn*'
in Olomouc celebrated its tenth anniversary on the i5th and i6th November 1890. At
the second concert } the honorary members of the society, Dvorak, Fibich and Bendl
conducted their own works. Dvorak was, after all, appointed teacher of composition at
the Conservatoire in Prague on condition that he take up his duties as from January ist
1891 and that he teach 7-8 months in the year. Prince Ferdinand Lobkowitz being- Pre
sident of the Union for the Advancement of Music in Bohemia, which administered the
Conservatoire. At the Museum Concert in Frankfurt- on-Main, Dvorak conducted the
G major Symphony and the Hussite Overture (see 138). For the intended performance
of the Symphony in Vienna and the performance there of the Piano Quintet in A major
see 139. The Piano Quartet in E fiat major, op. 87, was composed between the 26th
August and the 8th November 1889. Of the conferring of the honorary degree of
Doctor of Music by the University of Cambridge, Dvorak was informed in a private
letter from the English Anglo-Irish composer, Charks V. Stanford (1852-1894) who
asked him to accept this distinction and at the same time informed him that he would have
to be present at the "capping" ceremony. The dispute regarding the publication of
the Requiem ended with its publication by the firm of Novello in London.

i 4 2. MORE DELAYS IN VIENNA

Honoured Friend,

Would you do me a favour? I hope so. The repertoire
situation is so unfavourable that I cannot include in the pro
gramme of the next concert any new work. Would you be so
good and friendly as to let me keep the loaned score and parts
till the 5th Concert, that is till the 4th January ? By that time all
difficulties with the repertoire will be overcome (two new ballets
and a Wagner cycle) and then I can apply myself properly con
amore to the study of your splendid Symphony. I do not know
any better new work with which I could open the first concert
in the New Year. If it is possible I shall arrange for it to be
put on at the beginning of the programme so that the last
movement does not suffer by the noise of people leaving before
the end. So I beg you to grant my request ... At my house you
will be comfortable also in the New Year. Asking you once again
kindly to agree to my proposal.

I am. With warmest greetings.

Your sincerely devoted

Hans Richter.

Richter in Vienna to Dvorak in Prague, 29. XI. 1890. Viz also 139.

143. DVORAK REGRETS

Prague 18 i/i 91.
Honoured Friend,

I regret extremely that I cannot come to the performance
as my obligations in connection with my new calling at the Prague
Music Conservatoire are such that I cannot possibly absent my
self at the very beginning of my activities.

It is very painful for me to have to deny myself the pleasure

134

of hearing my work from you, but that is how the matter stands
and there is nothing to be done. Thanking you warmly for the
kindness you have so repeatedly shown me,

I remain, Ever gratefully yours,

Antonm Dvofak.

Dvordk to Richter in 7ienna.lt is quite possible that the postponements in the
performance of the G major Symphony had annoyed Dvorak and that it was for that
reason that he did not go to Vienna on this occasion, to the great regret of Richter as is
to be seen from the following letter.

144. RICHTER BOTH SORRY AND GLAD

Dear bad Friend,

You would certainly have been pleased with this perform
ance. All of us felt that here was a splendid work: and so we
were all enthusiastic. Brahms dined with me after the perform
ance and we drank to the health of the unfortunately absent
father of No. 4. Vivat sequens.

Your devoted

Hans Richter.
The success was warm and hearty.

Richter to Dvorak in Prague 5. I. 1891. The father of no. 4: the Symphony was
designated as the fourth in the order of publication, though it was actually the eigth
in the order of composition.

145. DVORAK AT THE CONSERVATOIRE

...The day will never fade from my memory on which I
handed over to him the school of composition. It took place on a
special Composition Evening, on the I4th January 1 891, in the

small concert hall of the Conservatoire, a moment of undoubted
historic importance when, for the first time in the eighty years
of its existence, the institute presented to the public its own
school of composition. Dvorak was unusually moved by the
compositions performed and declared that the results far exceeded
his expectations. The next day those pupils who had been assigned
to Dvorak (I chose out of the whole number the 1 2 most talented)
took leave of me; I kept the rest myself to the end of the year.
And in the same measure as he had been at first unwilling to accept
the post and did so only at the insistent persuasion of the above-
mentioned office-holders, so now teaching at school became for
Dvorak a necessity that he looked forward to daily. Originally
he was to teach an hour every day (from 89 a. m.) ; but his
lesson not seldom went on the whole forenoon, which upset the
rest of our time-table. In the following year the pupils were di
vided into three groups with two hours a week, or 2 groups with
three hours a week.

. . . Of the pupils he had in the first year of his teaching, the
most outstanding were Josef Suk (later his son-in-law) and
Oskar Nedbal. The next year they were joined by Vitezslav
Novak. And then there passed through his hands innumerable
pupils of different degrees of talent, maturity and perseverence.
As to the compositions which arose during, I think, Dvorak's
second year of teaching, a specially noteworthy curiosity was
a symphonietta for small orchestra, an extremely interesting
composition worked out on the blackboard at school and pub
licly performed at the Final Examination of the Conservatoire,
which was the common spiritual product of 1 2 pupils.

From the reminiscences of Karel Stecker (1861-1918), composer and professor
of composition at the Prague Conservatoire. Dvorak was appointed professor of
instrumentation, the elements of form and practical instruction in composition, and
entrusted with the training of the third year students with the proviso that he -would
be assigned only specially talented students.

136

146. STUDENT RECOLLECTIONS: VlTEZSLAV
NOVAK

What kind of a teacher was Dvorak ? The answer can be
given in two words : a teacher-artist. He was a teacher only for
the talented. Pupils who got to him through inadvertance or out
of curiosity he managed to get rid of very quickly. "Music is
a liberal art/' he would often say on such occasions. He was
remarkably practical, submitting each work to a detailed exami
nation, drawing attention to our awkward places and mistakes
in very apt comments. "Sometimes I could howl, but we learn
a lot from it", Josef Suk once sighed. And he was absolutely
right. Dvorak's school was strict but as salutary as a cold douche.
Dvorak, however, was never pedantic and praised an original
idea with undisguised pleasure . . .

From the funeral oration at DvofdPs grave. VitSzslaru Novak (1870-194.9),
along with Josef Suk the most outstanding student of Dvorak's school of composition
and a leading representative of modern Czech music.

147. STUDENT RECOLLECTIONS: JOSEF MICHL

And so only slowly, often at the cost of bitter experience,
did we get to know the Master and grasp his principles and re
quirements. Unfortunately not even then did we succeed in
satisfying our strict Master in every respect. Dvorak had his
moods and like every great spirit, he, too, suffered from so-
called "Divine discontent". So, for instance, he would like cer
tain parts in our compositions and on first seeing them he might
be even positively enthusiastic; later, however, he no longer
liked the same parts and required us to change them, improve
them or even replace them with better passages. As a result,
many compositions or little pieces which were thought to be

137

definitely finished had to be gone over again and sometimes
practically re-composed. It can easily be imagined that such
work was not as a rule easy, the less so as the Master did not
usually indicate how the correction was to be carried out and
himself only very rarely made the correction. And here we strike on
the most typical feature of his method : if he found something (and
that happened very often) with which he did not agree and which
he wanted to have differently and letter written^ he forced us to think
about it and did not give in till we had found a better way. It caused
us not a few very unpleasant moments and a lot of difficulty, but
to be quite sincere, it was for us a real blessing: "What good
would it be to you," he would often say, "if I were to write it the
way it should bel It wouldn't be yours then and every musician
worth his salt would know that somebody had put it right for
you. Anybody who wants to compose must get accustomed to
think and work independently!"

'From the study "A Tear under Dvorak". Josef Michl (see 4).

148. STUDENT RECOLLECTIONS: JOSEF SUK

Dvorak's knowledge of musical works was truly astounding.
Bach, Handel, Gluck, Haydn, Mozart, Beethoven, Schubert,
Berlioz, Wagner, Liszt, he knew the works of all these masters
in detail. He did not dislike Italian music nor did he share the
view of the time that it was "hurdy-gurdy". And, in general,
there was no movement of which he did not take notice; he
studied Bruckner, was interested in Richard Strauss and was
pleased when he saw among his students a striving after new and
independent expression, I brought to one of our first lessons
a trio, a little composition from my boyhood days. On going
through the second movement, which had a Dvorak colouring,
he gave me a friendly look and remarked: "I have heard some-

138

thing like it; seek and seek again, young man, as we had to
seek." He was interested in everything, nothing in our lives
escaped his attention. He liked to read the papers and critical
notices, both home and foreign, and read regularly Czech pro
vincial papers, for he took a lively concern in the cultural acti
vities of the countryside.

From the article; "Borne Reminiscences." Josef Suk (see i).

149. STUDENT RECOLLECTIONS: VlTEZSLAV
NOVAK

What was his relation to the giants of music ? He paid hom
age to Beethoven whom he continually held up to us as an
example; he admired Wagner and Berlioz, he valued Brahms
greatly and loved Schubert with whom he was spiritually akin.
This list of names, though incomplete, shows that Dvorak's
taste was by no means one-sided. The Master was acquainted
with all of beauty and originality that had been created in music
and his comments and comparisons were always interesting and
often very original . . .

See 146.

150. DVORAK ON MOZABT

...Another time he surprised us with the question: who
of us knows what Moza?'t is? The mysterious question caused
much cudgelling of brains and many views were put forward
about Mozart's significance. They were, however, only the
usual commonplace phrases such as : Mozart is a classic-a com-

139

poser of opera of symphonies Haydn's successor Beethoven's
antipode a precursor of Romanticism and similar more or less
senseless sentences. To all the answers the Master shook his
head and the enigma remained unsolved.

"Now that just shows how little sense and feeling you have
for music. Do you mean to say that not one of you can guess ?!"
he asked, raising his voice.

Nobody replied. ...Dvorak's temperament boiled over:
Seizing the nearest pupil by the shoulder, he dragged him to the
window and here pointing with one hand to the sky and with
the other shaking the pupil by the sleeve asked him once more :
"Now do you know? Do you see it?"

The pupil was in obvious embarrassment: now

throwing an inquiring look at the Master, now gazing at the
sky, he finally stuttered:

"Excuse me, sir, I don't see anything."

"What ? You don't see the sun ?"

"I see it!"

"Why then don't you say what Mozart is ?"

And turning away from the window-seriously, loftily and
with tremendous enthusiasm, Dvorak pronounced this significant
sentence :

"Well, remember: Mozart is sunshine!"

From the article.' "From Dvorak's School" by Josef Michl (see 4).

151. DVORAK-RAPHAEL-MOZART

. . .When we were in London (or shortly before), the London
National Gallery had enriched its collections with the purchase
at great cost of a Madonna by Raphael. Dvorak knew the Gallery
from his earlier visits, but we went in again together. Before the
Madonna, which he had not seen as yet, Dvorak stood long in
silence. At last he began: "You see, that is Mozart. It is so

140

beautifully composed. The landscape behind the throne, you
do not know why it is there, but it is lovely and must be like
that. In Brussels they have pictures by Breughel, tremendous
pictures, "it was not till years later in Brussels that I realized
that the word "tremendous" referred to the content of the pic
tures and not to their size "they positively overpower you and
you realize how small you are.- And that is Beethoven." How
Dvorak loved Beethoven I do not need to tell you ; but Mozart
had no less firm a hold on his affection. Dvorak was heart and
soul an artist to whom art of all styles appealed even though he
had his own style if only it was truly beautiful. I shall never
forget, for instance, what heavenly bliss illumined his counten
ance when we were listening to Mozart's D minor Concerto at
a Popular Concert at the Crystal Palace near Sydenham. Or
what sacrilege it seemed to him when (and as was his habit he
did not hesitate to express himself very clearly) one of our com
posers complained how little recognition he had won so far and
what success Mozart achieved in his early years.

From the article; " With Dvorak in London' by J Zubaty (see 8), who accompanied
Dvorak to England on his third visit in 1885.

152. DVORAK AT CAMBRIDGE

Cambridge,
Dear Friend, (forenoon) 1 6th June 1891.

Today, Tuesday, at 1 2 o'clock, I shall be a Doctor. Besides
me there will be about six others, a Russian etc., and then the
British Ambassador to Rome has also arrived. Yesterday's con
cert turned out splendidly as usual. The lovely doctor's cap
and gown were gifted to me by the University. I shall tell you
all about the rest later.

God bless you! Yours,

A. Dvorak.

141

to A. Gobi at Sychrcfu.Qn the evening before the graduation, an official
concert was held in the University town of Cambridge on June i5th 1891, at which
Dvorak, in place of a dissertation, conducted his G major Symphony and Stabat Mater.
Along with Dvorak, degrees were conferred on Mechnikov, the Russian zoologist, and
several English scientists.

153. AT THE GRADUATION CEREMONY

...A delightfully pawky sense of humour characterizes a
reference to the Master's graduation in Cambridge. At school
they were talking about some celebration which provoked the
Master to the following comment: "I don't like such celebra
tions. And if it so happens that I must be present at one I am
(as it were) on pins and needles. I shall never forget how I felt
when they made me a doctor in England: the formalities and
the doctors. All the faces so grave and it seemed that none could
speak anything but Latin. I listened to my right and to my left
and did not know where to turn my ear. And when I discovered
that they were talking to me I could have wished myself any
where else than there and was ashamed that I did not know
Latin. But when I look back on it today I must smile and think
to myself that to compose Stabat Mater is, after all, better than
to know Latin."

From Reminiscences by Josef Michl (see 4.). The Dean of the Faculty introduced
Dvorak in a Latin ovation in which he brought out the significance of Dvorak as a
composer with special emphasis on Dvorak's works then being performed in England.

154. AN INVITATION TO AMERICA

Dear Friend, 1820/691.

Yesterday, after 40 hours of travelling, we arrived home
safely. Everything turned out splendidly-as I already informed
you in my letter from Cambridge. It will remain an unforgett-

142

able memory for the rest of my life. It would take me a long, long
time to tell you about it. Perhaps you will read of it in the
papers. Novotny is with me just now and making notes of every
thing.

/ am to go to America for 2 years.

The directorship of the Conservatoire and to conduct 10
concerts (of my own compositions) for 8 months and 4 months
vacation, for a yearly salary of 1 5,000 dollars or over 30,000 gold
francs. Should I take it ? Or should I not ? Write me a word or
two. I am waiting for Dr. Tragy before I make a decision. Write
to me at Vysoka which I am leaving for tomorrow, Monday, with
my family.

With affectionate greetings to Yourself and kind regards
to all at Sychrovj

Yours, A T. v/i

3 A. Dvorak.

to A. Gobi at Sychrffv.To invite Dvorak to be the Director of the
National Conservatory of Music of America in New York was the idea of the founder
and President of this institute, Mrs. Jeanette M. Thurber (18521946). Dvofik
received the first call from her in the form of a telegram from Paris on June 6th 1891,
where she was staying at the time. Novotny see 2, Dr. Tragy see 133.

155. DVORAK CONSIDERS THE AMERICAN

OFFER

Vysoka, 18 1/8 91.
Dear Bnend,

You are no doubt wondering why I haven't written to you
for so long. I want to get the most out of this short stay in Vy
soka and so I decided to let my pen rest a while. I walk the
whole day in my garden and amuse myself with my pigeons.
That is my occupation here. But that will not interest you greatly.
And so I must tell you that I have done something after all-I have
finished the new "Overture" which I began in Prague. What
name it will go by I do not know yet-but I read in the news-

papers that it will be called "A Summer Night". People catch
at whatever they can hear and parrot it after me and all the
time they don't really know anything.

And now something about America. Yesterday I got a copy
of the contract. It is very long but I don't know yet whether
I shall accept it. It seems that I should have 3 hours a day teach
ing composition and instrumentation and, in addition, prepare
in 8 months 4 concerts with the pupils of the Conservatory and
give 6 concerts in American towns at which the main works to
be performed would be Stabat, The Spectre's Bride, Ludmilla,
Requiem, Symphonies and Overtures etc. For that I should
get 15,000 dollars or, in Czech money, 35,000 gulden. Before
I leave they will deposit half the remuneration in Prague
and the other half I should get by the month in advance. There
is only one little hitch. I want the 7,500 dollars to be paid up by
the end of May 1893 so that I could have holidays in June, July,
August and the first half of September which I should prefer
to spend in Bohemia. If they meet this condition I shall prob
ably accept. What people say of America is very mixed. As
always in this world some are for and some against. Whether
I shall get to see you or not I cannot say. In any case I should
pay you a visit in October on my return from England. Then
we shall have a lot to talk about. Especially about the Requiem
and how it turned out in Birmingham. Very soon I shall be get
ting the arrangement for piano and I shall send you a copy at once.

We all send our affectionate greetings and especially

Your

A. Dvorak.

Dvorak to A. Gobi at SycAro'v.The new Overture: "In Nature's Realm", op. 91,
the first part of the trilogy: "Nature, Life and Love", of which the other parts are the
overtures "Carnival" op. 92 and "Othello", op. 93. Dvorak worked at these composition
from March 3ist to January iSth 1892. On the sketch for the first overture is writen
"Ouvertura lyrica" or "In Nature's Realm" or "A Summer Night". All three overtures
are connected by the basic theme of Nature as the giver of all life, beauty, joy (Carnival)
and sorrow (Othello, partly based on Shakespeare's drama). The Requiem was first
performed under Dvorak's baton at the Musical Festival in Birmingham on October
9th 1891. It was Dvorak's eighth visit to England (see also 138).

144

frMe

1 6. Facsimile of a page of a letter from P. I. Tchaikovsky.

156. NEGOTIATIONS WITH AMERICA

Dear Friend, Prague, 24. 10. 91.

Thank you first of all for having sent what I asked for my
pigeons. They will have a fine feed!

You will probably have read that I am safely back from
England and that the Requiem was a tremendous success.

. . . Yesterday I sent the contract, revised for the third time,
to London, and if they agree to all my changes I shall sign. In
America they write a great deal about my coming and have
great expectations of my artistic activity.

Well, there will be a fine to-do when I get there! And then
the Czechoslovaks -how they are looking forward, as I hear,
to my arrival!

Once more my warmest thanks,

Your affectionate friend,

Antonin Dvorak.

Dvorak to Aug. Bohdanecky in Cimetice. Bohdanecky, Rus's son-m-la-w, was
manager of an estate in the neighbouring village and often supplied Dvorak's garden
at Vysoka with cuttings.

157. ON THE EVE OF DEPARTURE

Dear Friend,

I should have written to you long since, but in the last few
days I have had, especially at the Academy, a number of stren
uous (at least for me) sessions so that I am rather late in replying
and beg you to kindly forgive my remissness . . .

I am well, thank God, and am now working at my III.
Overture, Nature, Life and Love, but I still have a great piece
of work ahead of me. I think that probably in Lent, when they
will be giving my Requiem at the theatre, I shall present

this novelty and it will be at the Conservatoire concerts. How
happy I should be to see you there but no hope of thatl

Simrock has remembered my existence, he was probably
sorry at not having heard anything about me for so long. He
would like to have something again but I am letting him wait
in the meantime to punish him. If he doesn't pay me very well,
I shan't give him either the "Overtures" or the "Dumky".
I shall always be able to get them accepted. I won't allow myself
to be done down by him any more!

Today Velebin Urbanek came to see me in connection with
arrangements for my concerts with my pupils. They will be
held in Bohemia and Moravia and everywhere we shall play the
"Dumky" and some chamber music, and as Mlada Boleslav
and Turnov will probably be included in the tour, I am hoping
and looking forward to seeing you for certain in Turnov.

And now au revoir!

Your loving friend,

Antonin Dvorak.

Dvordk to A. Gobi at Sychrov, 25. XI. 1891. Dvorak was one of the first members
of the Czech Academy of Sciences and Arts. III. Overture: "Othello" see 155. The
Requiem was first performed in Prague on the 25th April 1892 at the National Theatre.
Dvorak presented the three overtures, op. 91-93, for the first time in Prague at a special
farewell concert held on April 28th 1892 before his departure for America.

Velebin Urbinek (see 50) arranged a. number of "farewell" concerts in Czech and
Moravian towns in the first five months of 1892. At these concerts, members of the
teaching staff of the Prague Conservatoire, the violinist Ferdinand Lachner (1856-1910)
and the violincellist Hanus Wihan (1855-1920), later a member of the famous Bohemian
Quartet, also pkyed with Dvofik his new chamber work: the "Dumky" piano trio,
op. 90, composed between November 1890, and the i2th February 1891. ("Dumka"
is the name of a Ukrainian folk-song half melancholy, half wildly gay.)

158. AMERICAN JOURNEY

... I made Master Dvorak's acquaintance during my studies
at the Prague Conservatoire to which I came from my native
town of Spillville and where I finished in 1 892 ...

146

When, on taking my final examinations at the Conservatoire,
I mentioned that I would be leaving as soon as possible for
America, the Master said quite simply: "You know what we
shall do it like this: you will wait till September and then we
shall go nicely together." On my asking what I should do in
Bohemia for two whole months, the Master said: "You will
come for the holidays to our place at Vysoka and then we shall
set out together for America!" And that was what happened.

At Vysoka life ran in the channels cut out by the Master
during his previous visits. The Master himself was very diligent
this summer. First of all he finished the "Te Deum" which was
to be given its first performance at his first appearance in New
York and then, when an English poem reached him from Mrs.
Jeanette M. Thurber, the founder of the National Conservatory
in New York, he started work on the cantata "The American
Flag", the sketch for which he had completed before his de
parture for America. Otherwise the quiet tenor of life at Vysoka
was considerably enlivened by the arrival on a visit of Oskar
Nedbal and Josef Suk who were to work out the piano arrange
ment of some of the Master's works. Especially Nedbal was up
to all sorts of pranks which sometimes made the Master really
angry...

In the middle of September 1892, the Master, with his
wife, his daughter Otilie and his son Antonin, set out on the
journey to America. We left Prague at 3 o'clock in the after
noonon a Thursday: at the station a lot of the Master's friends
had come to see him off, and the last word the Master addressed
to them was "au revoir in summerl" On Friday we were in Bre
men and on Saturday we boarded the s. s. Saale, which was to
convey us across the ocean. The ship weighed anchor at about
i p. m., and at 5 p. m. on Sunday we reached Southampton in
England from where the Master sent a telegram to the children
who had remained behind in Prague that "everything is all right,
all well".

The voyage lasted nine days and was very pleasant on the

whole, except for three days when it was quite stormy and all
the passengers, with the exception of the Master, kept to their
cabins. The Master proved an excellent sailor; the whole day,
it might be as stormy as you like, he walked up and down the
deck. Several times it happened that he was the only one to put
in an appearance in the dining-room, and when Capt. Rinck saw
him so alone, he invited him to his table. When they had break
fasted or dined at their ease, they lit their cigars and chatted.
On Monday, the 26th September, if I am not mistaken,
after 6 o'clock in the evening, the ship docked in New York
harbour. Here the Master was met by Mr. Santon, then Secre
tary to the National Conservatory, who, after the usual customs
examination, took us to the Clarendon Hotel where a room had
been reserved for the Master complete with concert grand. The
Master did not, however, find it quiet enough there and longed
for a private lodging. This was found, at last, in no. 327 East
1 7th Street, opposite the Stuyvesant Park with a Mrs Drew
and as the Conservatory was in the same street, nos. 128-130,
the Master had not far to go.

Prom Josef Jan Ko-uanFs Reminiscences. Kovari'k, a native of Spillvrlle, Iowa
(1870-1951), studied violin in the years 1888-1892 at the Prague Conservatoire. After
his return to America, Dvorak procured for him the post of teacher of violin at the
National Conservatory of Music of America, and for the whole three years of the
Master's stay in America (1892-1895) lived with Dvorak as a. member of the family.
He adored Dvorak and was an invaluable and unselfish companion to him throughout
his stay. This extract is taken from his Reminiscences. The cantata "Te Deum", for solo
voices, choir and orchestra, op. 103, and "The American Flag", to words by the American
poet, Joseph Rodman Drake, op. 102, were written at Vysoki in the summer of 1892,
before Dvorak's departure for America, for the celebration of the quatercentenary of the
Discovery of America, planned for the autumn of that year. Staying with the Dvo
raks at Vysoka, were besides Kovarik, Josef Suk (see i) and the later notable Czech
conductor, OskarNedbal (1874-1930). Suk carried out the piano arrangement there of
Dvorak's overtures "In Nature's Realm" and "Othello" and of the "Te Deum", while
Nedbal did the piano arrangement of "Carnival".

148

159- NEW YORK - FIRST IMPRESSIONS

New York, Wednesday 7 a. m., 18 12/10 92.
Dear Friend,

I promised to write to you and am doing so now and very
gladly because when I write to the old country (as they say here)
or, what is the same, to every good friend, being thus engaged
with him-it seems to me as if I saw him here before me. And
so it is today. I see you, as on a fine autumn morning, walking
through the Kromeriz Park and looking sadly at the trees from
which the leaves are falling one by one. But what help is there ?
Nature, too, needs her diminuendo and morendo so that she may
come to life again and gather herself up for a great crescendo.,
achieving then her full strength and height in a mighty Jf.
Where have I got to ? what am I telling you ? I should be wri
ting to you about our journey about our crossing to America
and perhaps about things concerning me personally ?

Well, listen!

Our journey was lovely except for one day when everybody
on board was sick except me and so after only a short period of
quarantine, we arrived safely in the promised land. The view
from "Sandy Hook" (harbour town)-of New York with the
magnificent Statue of Liberty (in whose head alone there is
room for 60 persons and where banquets etc. are often held)
is most impressive! And then the amount of shippping from all
parts of the world?! As I say amazing. On Tuesday the 27th
we reached the town (Hoboken) where all ships dock, and there
we were awaited by the Secretary to the National Conservatory,
Mr. Santon-and what gave me special pleasure by a Czech
deputation. We exchanged greetings and a few words and then-
a carriage was waiting for us and in a short time we were in New
York, and are still in the same hotel. The city itself is magnifi
cent, lovely buildings and beautiful streets and then, everywhere,
the greatest cleanliness. It is dear here. Our gulden is like a

149

dollar. At the hotel we pay 55 dollars a week for three rooms, of
course in the most central part of the city, "Union Square",
That does not matter, however, for we shall not spend more
than 5000, and so, I am thankful to say, we shall be able to leave
the rest untouched. On Sunday the 9th, there was a big Czech
concert in my honour. There were 3000 people present in the
hall and there was no end to the cheering and clapping. There
were speeches in Czech and English and I, poor creature, had
to make a speech of thanks from the platform, holding a silver
wreath in my hands. You can guess how I felt! Besides you
will learn about in later from the newspapers. What the Americ
an papers write about me is simply terrible they see in me, they
say, the saviour of music and I don't know what else besides!
All the scientific and political papers have been writing and are
still writing about me.

I must finish as I have no more room. A hundred thousand
affectionate greetings from

A. Dvorak.

ist concert at the "Music Hall", 2ist October. Te Deum,
Three Overtures. Please address your letter: A. D. National
Conservatory of Music 126128. iyth Street New Tork, North
America.

Dvorak to Dr. Emil Kozdnek in KromeriK, Mora^jia.Di:. Kozinek (1856-1927),
lawyer and president of the musical society "Moravan" in Kromerfz. He was on terms
of very -warm friendship with Dvorak from the year 1873 and Dvorak was often his
guest at Kromeriz. For the first days, the Dvoraks, along with Kovafik, stayed at the
Clarendon Hotel at the corner of East i8th Street and 4th Avenue near Union Square.
The Czech colony in New York held a concert of "welcome" with a programme of his
compositions on lie gth October 1892 in the Central-Turnverein-Hall. The American
press gave Dvorak a truly impressive reception. The dailies and the revues published
his biography along with a critical evaluation of his works and his position in contem
porary music. The Music Hall the Carnegie Hall at the corner of Seventh Avenue
and 57th Street. Here Dvorak's first concert on American soil took place (list October
1892) at which the Boston Symphony Orchestra performed the three overtures: "In
Nature's Realm", "Cameval" and "Othello", under the composer's baton.

i6o. LIFE AND WORK IN AMERICA

Parker House, Boston (Hotel)
27. XL 1892.

Dear Sir, Esteemed Madam,

I have been wanting to write to you for a long time but have
always put it off, waiting for a more suitable moment when I could
tell you something of particular interest about America and
especially about the musical conditions here. There is so much
to tell and all so new and interesting that I cannot put it all down
on paper and so I shall limit myself to the most important things.

The first and chief thing is that, thanks be to God, we are
all well and liking it here very much. And why shouldn't we
when it is so lovely and free here and one can live so much more
peacefully and that is what I need. I do not worry about any
thing and do my duty and it is all right. There are things here
which one must admire and others which I would rather not see,
but what can you do, everywhere there is something-in general,
however, it is altogether different here, and, if America goes
on like this, she will surpass all the others.

Just imagine how the Americans work in the interests of
art and for the people! So, for instance, yesterday I came to
Boston to conduct my obligatory concert (every thing connected
with it being arranged by the highly esteemed President of our
Conservatory, the tireless Mrs. Jeanette M.Thurber) at which the
Requiem will be given with several hundred performers. The
concert on December ist will be for only the wealthy and the
intelligentzia, but the preceding day my work will also be per
formed for poor workers who earn 1 8 dollars a week, the pur
pose being to give the poor and uneducated people the opportu
nity to hear the musical works of all times and all nations'!
That's something, isn't it? I am looking forward to it like a
child.

Today, Sunday, I have a rehearsal at three o'clock in the
afternoon and wonder how it will come off. The orchestra here,

which I heard in Brooklyn, is excellent, 100 musicians, mostly
German as is also the conductor. His name is Nikisch and he
comes from somewhere in Hungary. The orchestra was founded
by a local millionaire, Colonel Higginson, who gave a big
speech at my first concert (a thing unheard of here), spoke of
my coming to America and the purpose to be served by my stay
here. The Americans expect great things of me and the main
thing is, so they say, to show them to the promised land and
kingdom of a new and independent art, in short, to create a
national music. If the small Czech nation can have such musi
cians, they say, why could not they, too, when their country
and people is so immense.

Forgive me for lacking a little in modesty, but I am only
telling you what the American papers are constantly writing.
It is certainly both a great and splendid task for me and I hope
that with God's help I shall accomplish it. There is more than
enough material here and plenty of talent. I have pupils from as
far away as San Francisco. They are mostly poor people, but
at our Institute teaching is free of charge, anybody who is really
talented pays no fees ! I have only 8 pupils, but some of them
very promising.

And then not less so are the entries for the competition
for prizes offered by Mrs. Thurber. 1000 dollars for an opera,
1000 for an oratory, 1000 for a libretto, 500 for a symphony,
and, for a cantata, a piano or a violin concerto, 300 dollars each.

A great deal of music has come in from all over America and
I must go through it all. It does not take much work. I look at
the first page and can tell straight away whether it is the work
of a dilettante or an artist.

As regards operas, they are very poor and I don't know
whether any will be awarded a prize. Besides myself there are
other gentlemen on the jury for each kind of composition five
of us. The other kinds of composition such as symphonies,
concertos, suites, serenades etc. interest me very much. The
composers are all much the same as at home brought up in the

152

German School, but here and there another spirit, other thoughts?
another colouring flashes forth, in short, something Indian
(something a la Bret Harte). I am very curious how things will
develop.

As regards my own work, this is my programme: On
Mondays, Wednesdays and Fridays, from 9-11, I have compo
sition ; twice a week orchestra practice from 46 and the rest of
my time is my own. You see that it is not a great deal and Mrs.
Thurber is very "considerate" as she wrote to me in Europe that
she would be.

She looks after the administrative side herself has a secretary
also a founding member of the co-operative (very wealthy), a
Mr. Stanton, an intimate friend of Mr. Cleveland, whereas Mrs.
Thurber is a Republican-, but in matters of art they get on very
well together and work for the good of our young and not yet
fully developed institute. And so it is all right. The second
secretary is Mrs MacDowel and she is mainly in charge of the
correspondence.

And now something about our domestic affairs. We live in
1 7th street East, 327 (only 4 mins. from the school) and are
very satisfied with the flat. Mr. Steinway sent me a piano imme-
diately-a lovely one and, of course, free of charge, so that we
have one nice piece of furniture in our sitting-room. Besides
this we have 3 others rooms and a small room (furnished) and
pay 80 dollars a month. A lot for us but the normal price here.

We have breakfast and supper at home and go to a board
ing-house for dinner.

I must stop. My kind regards to yourself and your wife,
I remain, Gratefully Yours,

Antonin Dvorak.

My wife, who is with me, asks to be remembered to you.

Dvorak to Mr. and Mrs Hldvka (see in) in Prague. The musical society "Ce-
cilie" in Boston performed Dvorak's Requiem there on the zgth and 3oth November
1892, with the composer conducting. In the years 1889-1893, the conductor of the Boston

153

Symphony Orchestra was the distinguished German conductor, Arthur Nikisch
(1855-1922), who was fery fond of performing- Dvorak's -works. Colonel Thomas W.
Higginson, founder of the Boston Symphony Orchestra, addressed Dvorak in as peech
following the performance of the American Hymn at his first concert on October zist
1892 (see 159). Graver Cleveland, 1884-1888, and 1892-1897, President of the USA.
After October 6th 1892, the Dvoraks and Kovafik rented a flat of five rooms in a private
two-storeyed house, no. 327 in 17. Street East, opposite the Stuyvesant Park, where
they lived for the whole three years of their stay in America.

161. DVORAK'S RECREATIONS

. . . The Master lived in New York very quietly and, I believe?
more free from care than in Prague. The first year, howeverj
when he left his children behind in Prague (Anna, Magda,
Otakar and Aloisie) and then the last (third) year when he came
to America with only his wife and son, Otakar, he often longed
for his children. But the second year, when he had his whole fam
ily round him, was, I am firmly convinced, the happiest year
of his life.

The Master in general did not go out anywhere. He regularly
attended the concerts of the New York Philharmonic (besides
which he was only twice at the Metropolitan Opera during his
whole stay in New York), twice in succession he went to hear
the Kneisel Quartet and twice he was at a concert of the Boston
Philharmonic which now as then comes to New York five
times in the season and gives ten concerts.

The Master did not go out into society and, if he happened
to be invited somewhere, he usually declined the invitation.
In America, too, social life is not the same as in Europe. The
American, engaged all day in business, likes to spend the even
ings at home with his family.

What the Master missed in America were his pigeons and
locomotives. He felt the want of these two "hobbies" very much,
but here, too, he at length found a modest substitute. One day
we went with the Master to the Central Park where there is a

small Zoological Garden and buildings with different kinds of
birds. And then we came to a huge aviary with about two
hundred pigeons. It was a real surprise for the Master and his
pleasure at seeing the pigeons was great and even though none
of these pigeons could compare with his "pouters" and "fan-
tails", we made the trip to Central Park at least once and often
twice a week.

With locomotives it was a more difficult matter. In New
York at that time, there was only one station the others were
across the river (the city of New York is situated on the island
of Manhattan). At the main station they did not allow anybody
on to the platform except the passengers- and-it was in vairrthat_
we begged the porter to let us look at the "American locomo
tive". We travelled by overhead tram to 15 5th. Street, a good
hour from the Master's house, and there, on a bank, waited for
the Chicago or Boston express to go by. Only it took up a lot of
time, nearly the whole afternoon, as we always waited for a
number of trains so that it would be worth the journey- and then
the Master found a new hobby in steamships. For one thing the
harbour was much nearer and then, on the day of departure,
the public was allowed on board, an opportunity which the
Master made full use of.

There was soon not a boat that we had not inspected from
stem to stern. The Master always started a conversation with
the ship's captain or with his assistants, and so, in a short time,
we knew all the captains and mates by name. And when a ship
was due to sail we went there and watched it from the shore
till it was out of sight. If it happened that the Master remained
a little longer than usual at the Conservatory or was engrossed
in his work at home and so forgot about the departure of the
boat and there was no longer time to go to the harbour, we went
by overhead tram to Battery Park (the most southerly tip of the
City) and from there followed the ship in her outward journey
for as long as she remained in sight.

In the evening then, after a game of "darda", we discussed

'55

with the Master how many knots the ship had probably made,
where she might be etc. In the morning, the first Master's
work was to take the "Herald" and read the "shipping news".

From y, y. Kovarik's Reminiscences (see 158) The first season 1892-93, Dvorak
was in New York only with his wife, his daughter Otilie and his son Anton fa The other
four children did not arrive till May 3ist 1893, accompanied by Mrs Dvorak's eldest
sister, Terezia Koutecka. The Knetsel Quartet was composed of the leading musicians
of the Boston Symphony Orchestra: Fr. Kneisel, O. Roth, L. Svecenski and A. Shroeder
Dvorlk was a great pigeon-fancier and bred rare varieties at his summer residence
at Vysoka (see also 188); in addition he had a passion for locomotives. In Prague he used
to go to different stations, usually on his early morning walks, and was well versed in
what locomotive ran on which route and knew the locomotive-drivers personally.
"Darda" a card game. Dvorak was fond of playing it at home and even, though he did
not play for money, he often got very worked up about it

162. NEWSPAPER GOSSIP AND HOLIDAY PLANS

New York

Wednesday morning, 7 a. m. 18 12/4 93.

My dear Friend Doctor Kozanek,

In order to satisfy you straight I shall tell you at once that
I am as fit as a fiddle and in good heart and (except for some
trifles) very well off. Boys in the street and the policemen and
drunken Irish women in the street, these are the things that
annoy me, but one gets accustomed and disaccustomed to every
thing. But don't think that the "dis" refers to my friends at home
(God bless them!) I think of you every day but I say so only
because it is an old saying, that is, only for the sake of saying
something. It's true that with many people it often is so, but
I shall not get used to the "dis" and as to the accustomed "to"
I have a good disposition and am not afraid of anything, not
even of the bad, spiteful critics in Vienna and here, too.

I have not met with opposition but the papers here are ter
ribly fond of gossip which not even Cleveland escapes-and so

they wrote a variety of things about me and it was all what they
call : sensational g ssip^ nothing more. Have you read, perhaps,
in Narodni Listy the tattle about Stabat Mater ? It was given in
Brooklyn and here in New York. I was to conduct it there but
then I did not as our president (an excellent woman and my
staunch supporter), did not wish me to conduct when Madam
Juch was singing there had. been some disagreement between
them which, however turned out unfavourably for Madam
Juch, and this was the reason for the rage of some of the papers.
The local Czech newspapers copied it and then the Narodni
Listy from them. That is what you may have read, but Mrs.
Thurber is in the right, I am to go to Chicago, too, but I do not
know what arrangements will be made. On the i5th and i6th
April they are going to give a grand performance of the "Re
quiem", I was to conduct but shall not be able to do so. Last
week, on the 6th April, they gave "The Spectre's Bride" here,
and previous to that I conducted the "Hussite".

A small but good choir, the soloists good, with one excep
tion, the orchestra weak for such a big hall the "Carnegie Hall",
and so the full effect was not always achieved. In autumn, how
ever, we shall have a big concert and I shall be conducting and
it will be different. Here, too, some of the critics are against
me but the others are all good friends and write fairly and some
times enthusiastically. I should like to have still more enemies
than I have in Vienna, with the great exception of Dr. Hanslick.
I have a good disposition, I can stand a lot and still be quite
ready to forgive them. As far as this is concerned, you may be
quite at rest. I sit firmly in the saddle and I like it here except,
as I say, for some trifles.

My wish to return to Bohemia will not be realized this
year, we have decided otherwise.

The children and my sister-in-law, Mrs. Koutecka, are
coming here and will leave Prague on the 23rd May, on board
the "Havel" from Bremen, so that, God grant, on the 315! May
I shall look upon the faces of my dear and long-missed children.

Then we shall go straight to Chicago, have a look at the Exhibi
tion, and then set out for our summer Vysokd in the State of
Iowa, for the Czech village of Spillville where the teacher and
the parish priest and everything is Czech and so I shall be
among my own folks and am looking forward to it very much.

The teacher, Mr. Kovafik (from Pisek and here 26 years),
and the priest, Mr. Bily, a very lively fellow, so they say (from
Budejovice in Bohemia), will be the people with whom I shall
be in closest contact. I shall have pigeons there and maybe
we shall even play "darda"? How grand it will be. The priest
has two pairs of ponies and we shall ride to Protivin, a little town
near Spillville. Here in America there are names of towns and
villages of all nations under the sun ! !

The State of Iowa to which we are going is 1 300 miles from
New York but here such a distance is nothing. Thirty-six hours
by express and we are there. It is farther than from where you
are to London. Very soon we are going to see Buffalo, a town
near Niagara and so we shall see the gigantic waterfalls. How
I am looking forward to it. And now, what shall I write to you
about ?

I have not much work at school so that I have enough time
for my own work and am now just finishing my E minor
Symphony. I take great pleasure in it and it will differ very con
siderably from my others. Well, the influence of America must
be felt by everyone who has any "nose" at all. Now I am nego
tiating with Novello (he has also his firm and agents here) and so
my most recent compositions will be published at last.

They are ; i . Overture in F major , i . Overture in A major,
3. Overture in F sharp major, 4. Dumky . . ., 5. Rondo for 'cello,
6. Te Deum, 7. The American Flag for choir and orchestra,
8. Symphony in E minor

I have no room left again. More another time.
With affectionate greetings to You and to All,

Ant. Dvorak.
158

Write soon!

Tomorrow the Hamburg boat "Columbia" is sailing so
I hope you will get this letter sooner.

Dvorak to Dr. Erml Kazdnek(se 159) inKromefiz in Maravia. Dvorak was not
present at the performance of the Requiem in Chicago. The concert with the "Hus
site", vrhich Dvorlk conducted, and -with "The Spectre's Bride", performed by the
Church Choral Society, was held in the Carnegie Hall on the 6th April 1893. Spill
ville, a settlement at the north-west tip of the middle American State of Iowa where
Josef J. Kovaf ik was born and where his father was teacher and choir director. The
settlement was populated mainly by emigrants from Bohemia. The famous E minor
Symphony, called "From the NS-JO World" was composed between the xoth January
and the 24th May 1893 in New York. As regards its musical content, it Is for the most
part the expression of the strongly agitating effect of life in the new enviroment, while
the middle movement is, at the same time, influenced by the reading of Longfellow's
"Hiawatha" and also by reminiscences of the homeland. Except for the cantata "The
American Flag" all the compositions mentioned in the letter were published by
Simrock in Berlin in 1894

163. JOURNEY FROM NEW YORK TO SPILLVILLE

On Saturday, June 3rd i893-the third day after the child
ren's arrival, we set out for Spillville in Iowa for our holidays.

Our "caravan" or squad numbered ten persons the Master
with his wife, Mrs. Koutecka, six children, a maid (brought by
Mrs. Koutecka from Bohemia) and myself. The journey from
New York to Spillville (about 132,0 English miles or 2112 km)
took us by way of Philadelphia, Harrisburgh, the Alleghany
Mountains to Pittsburgh and from there via Chicago to Spill
ville. The Master took an immense interest in everything on the
journey. I had constantly to explain what country we were
passing through etc. The journey passed pleasantly, everything
went smoothly, the train was up to time and the Master's
interest kept growing.

On Sunday at 1 1 o'clock, we reached Chicago where my
brother met us. There we made a ten-hour stop, in the after
noon we drove through the town and at 9 o'clock in the evening

159

we set out again for Spillville. On Monday at 8. a. m. we were
in McGregor (Iowa) where the train stopped for an hour, had
breakfast, watched the sweeping currents of the Mississippi
and left again at 9 for our destination. The Master, after a good
breakfast, was in excellent spirits, everything interested him
greatly and he was specially glad that in two hours he would at
last leave the train and be at our journey's end in the country
and before we realized it, we had reached Calmar-our last stat
ion (the railway does not go on to Spillville). In Calmar we were
met by my father, the Rev. Tomas Bily, parish priest in Spill
ville and a native of Luznice by Tf ebon and the Rev. Frantisek
Vrba, parish priest in American Protivin (Iowa)-I do not re
member what part of Bohemia he comes from. After a short
exchange of greetings, the Master and his family got into the
carriage and we set out on the last stage of our journey to Spill
ville about 8 km.

When the Master decided to spend his holiday in Spillville,
I wrote to my Father to ask him whether there was not a little
house to let. There was not, however, and so Father secured a
lodging with a Mr. Schmidt (a German) consisting of eight
rooms, and Father also saw to having it furnished so that on our
arrival everything was in readiness except a piano.

In our family, Mother was always the early bird and when,
on the following morning, she caught sight of the Master at
5 o'clock in the morning walking up and down in front of the
school, she got a great fright as she thought something unpleas
ant must have happened to them in the house. She ran out and
began asking the Master what had happened (she did not know
that the Master was also an early riser) whereupon the Master
replied: "Nothing happened and yet a great deal. Imagine,
I was walking there in the wood along by the stream and after
eight months I heard again the singing of birds! And here the
birds are different from ours, they have much brighter colours
and they sing differently, too. And now I am going to have
breakfast and after breakfast I shall come again."

1 60

Dvorak in the robes of an honoiary doctor
of Cambridge University

1 8 Jeanette Thurber

He went off but was soon back we, lazy ones, were only
getting up and asked at what time was mass, that he would like
to play the organ. Mass was at seven. Meantime the other mem
bers of the Master's family had appeared and we went to church.
The Master at the organ began "God before Thy majesty"
and we started singing, but the old women looked up in surprise
to the choir to see what was happening. They were not accus
tomed to be disturbed at "silent mass" by the organ and sing
ing. And so the Master sat at the organ every day except the
days he spent in Chicago, Omaha and St. Paul. The old women
got used to the Master's "disturbing" them and began to sing,
too, which pleased the Master very much ; things progressed so
far, indeed, that after mass some granny of grandad ventured
to address him: "Mr. Dvorak, the singing was fine today", and
"What will you be playing us tomorrow ?"

The Master's day in Spillville was more or less as follows:
He got up about four o'clock and went for a walk-to the stream
or the river-and returned at five. After his walk he worked, at
seven he was sitting at the organ in church, then he chatted a
little, went home, worked again (in Spillville Dvorak wrote the
F major string quartet and the E flat major string quintet) and then
went for a walk. He usually went alone here he had none of the
nerve storms which he sometimes suffered from in Prague and
often nobody knew where he had gone. Almost every afternoon
he spent in the company of some of the older settlers. He got
them to tell him about their bitter and difficult beginnings in
America : the old men told him how they went to help with the
building of the railway-4O miles from Spillville-and how they
went the long distance to work on foot, while their wives with
the children toiled on the farms.

In Spillville the Master scarcely ever talked about music
and I think that was one of the reasons he liked being there and
why he felt so happy there.

From J. J. KovaflVs Reminiscences, see 158. During his sojourn in Spillville,
Dvorak composed in quick succession the String Quartet in F major, op. 96 (June 8th

161

to 23rd) and the String Quintet in E flat major (two violas) op. 97 (June a6th to August
ist, 1893). Both works reflect the mood of happy contentment evoked by a holiday in
the country among his countrymen and yet in a milieu breathing the exotic atmosphere
of the American countryside.

164. PUBLISHING RELATIONS RESUMED

Spillville, U. S. A.
Dear Simrock, 28 - 7- 93-

I am spending my 4 months' holiday here in Spillville, a
completely Czech place in the State of Iowa, 1300 miles from
New York, with my whole family, where I am very happy, and
where I also got your letters. Dear Friend, I am composing
now, thank goodness, only for my pleasure. I am fairly inde
pendent, have a salary of 1 5,000 dollars (or 60.000 M)-and so
am able to devote my leisure to composing and am content.
I am, therefore, in no hurry to publish my works. If you recol
lect your correspondence in Prague two years ago, you will
easily understand why I am holding off publishing my works.
In the meantime their number has been added to (by fairly large
works) and I shall tell you once more what I have. 3 Overtures
for orchestra (new), Dumky (Trio for Violin, 'cello and piano),
Rondo for 'cello (new), Symphony in E minor (new), String
Quartet in F major (new) and I am now working at a String
Quintet (two violas). Then I have an arrangement for 'cello
solo, "Silent Woods", based on -"From the Bohemian Forest",
which should be welcomed by 'cellists. All these works you could
have (with the exception of the not yet completed quintet) if
we could agree on the fee. The Overtures (i, 2, 3) for Miooo.-
the Dumky Msooo. the E minor Symphony Msooo. the
Rondo ('Cello solo) M^oo. altogether My, 500. The title, inside
as well, to be in both German and Czech.

I am not asking any more than what you have always paid
me. I am not going to New York till the i jth September when

162

school-year begins and await your answer here. I am afraid,
however, the distance being so great (a letter takes 1 6 days) that
a long correspondence would drag the business out endlessly
and make it impossible for the works to be ready by October or
November. But you know better about these things than I do.
I gave the Overtures at my first concert here in New York
(the E minor Symphony has not been performed yet) and I
think they are my best orchestral works. You could print the
"Dumky" first. Also the Rondo and the piece for 'cello ("Silent
Woods"). And anyhow if we come to some conclusion you can
do as you think best. I can send you the piano arrangement
(duets) of the 3 Overtures at once and they could be ready by
October. I have not done the arrangement for piano duets of
the Dumky. I think it is very difficult to do. I have thought
about it time and again but it always seemed to me an almost
impossible task. That is why I have delayed doing it. I am not
in the mood for it and nobody else could or would do it to my
satisfaction. I have not so much time and so I shall perhaps get
it done by one of my pupils in New York. Now I have all 6
children here and am content. Next year in June I intend to go
to Europe.

Best greetings from me and my wife. Your

Antonin Dvofak.

For new compositions see also 162 and 163

165. "CZECH DAY" AT THE CHICAGO EXHIBITION

1 8 17/8 93, Spillville Winnesheik Co

^ -o-j Iowa U. S. of America

Dear triend,

We have just come back from Chicago where, as you prob
ably know, the I2th August was "Czech Day" at the Exhibi-

163

tion and I hasten to write and tell you something about this
great day.

On this day there was a great procession of all American
Czechs at the Exhibition where a big concert was held and a
big Sokol display. There were about 30,000 Czechs in the pro
cession and the concert was in the big Festival Hall (orchestra
114 performers) and I conducted my own compositions and
Mr. Hlavac from Russia conducted the other works by Czech
composers. The orchestra, as also the rendering, was splendid
and the enthusiasm general. All the papers wrote enthusiastical
ly as you will probably learn from your papers. The Exhibition
itself is gigantic and to write of it would be a vain undertaking.
It must be seen and seen very often, and still you do not really
know anything, there is so much and everything so big truly
"made in America". In spite of everything there will be a big
deficit and many people here at the Exhibition are complaining
and especially in Chicago business is suffering badly.

In September, about the 1 7th, we are leaving here for New
York and will stop for a day or two again in Chicago, and on the
25th September I must be back at school. So if you write, write
straight to New York, for it will be the first days of September
before you get this letter and I am afraid your letter would no
longer find us in Spillville. Except for the great heat, we have
spent a very nice and pleasant holiday among Czechs and the
children are already saying that they will miss it here.

That I have written a new E minor Symphony and that
I have a new quartet for strings you probably already know, and
I hope that during the coming season all my compositions will
come out. At last Simrock has eaten humble pie and says that he
will take all my works. I knew that he must come first to me and
not I to him. So I have punished him after all with my waiting.
It will be a whole pile of things when it is published. Three
Overtures, Dumky, Rondo, "Silent Woods", Symphony, Quartet
and Quintet, besides which I have still the "Te Deum" and "The
American Flag" for choir and orchestra which Mr. Novello is

164

interested in. But I do not know whether or when we shall come
to terms.

With affectionate greetings to All,

Entirely yours, An{onfn Dvof , fc _

Greetings to all our Pisek acquaintance.

D=uordk to A. Rus in Pisek, Bohemia. In 1893 a World Exhibition was held in
Chicago. At the concert in the Festival Hall, Dvorak conducted with the Festival
Orchestra, whose permanent conductor was Theodor Thomas (1835-1905), his Overture
"My Home", the G major Symphony and three "Slavonic Dances" from, op. 72. HlavaC
from Russia: a native Czech, Vojtechl. Hla-vdc (1849-1911) spent his whole life as a con
ductor of various orchestras in Russia. For Simrock approaching Dvorak again see 164.

1 66. DVORAK VISITS OMAHA AND ST. PAUL

1 8 15/9 93. Spillville, Winnesheik Co., Iowa.
Dear Friend,

Your last letter dated the 26th August arrived safely and
I was very happy to get it. Thank you. You wish to have a
letter, too, from Spillville-and it's now or never as we are going
tomorrow, Saturday, by way of Chicago and Niagara Falls, and
then straight on |p^New York where I am to start work on the
2ist September, (The three months spent here in Spillville will
remain a happy memory for the rest of our lives. We enjoyed
being here and were very happy though we found the three
months of heat rather trying. It was made up to us, however,
by being among our own people, our Czech countrymen, and
that gave us great joy. If it had not been for that, we should not
have come here at all.^J^

Spillville is a purely Czech settlement, founded by a certain
"Bavarian", "German", "Spielmann", who christened the place
Spillville. He died four years ago, and in the morning when
I went to church, my way took me past his grave and strange

165

thoughts always fill my mind at the sight of it as of the graves
of many other Czech countrymen who sleep their last sleep here.
These people came to this place about 40 years ago, mostly from
the neighbourhood of Pisek, Tabor and Budejovice. All the
poorest of the poor, and after great hardships and struggle they
are very well off here. I liked to go among the people and they,
too, were all fond of me, and especially the grandmas and gran
dads were pleased when I played to them in church "God before
Thy Majesty" and "A Thousand Times we greet Thee".

I became very good friends with Father Bily, as were also
our children and often we went to visit Czech farmers 45 miles
away. 1 , It is very strange here. Few people and a great deal of
empty space. A farmer's nearest neighbour is often 4 miles off,
especially in the frames (I call them the Sahara) there are only
endless acres of field and meadow and that is all you see. You
don't meet a soul (here they only ride on horseback) and you are
glad to see in the woods and meadows the huge herds of cattle
which, summer and winter, are out at pasture in the broad fields.
Men go to the woods and meadows where the cows graze to
milk them. And so it is very "wild" here and sometimes very
sad sad to despair .( But habit is everything. I should have to go
on and on telling you things and you would hear many curious
things about this America. And now about comething else. Not
long ago we went on a trip to the State of Nebraska, to the town
of Omaha, where there are also many Czechs. I went to visit
Mr. Rosewater (Czech from Bukovany). He is a personal friend
of Harrison's and Cleveland's and of many outstanding politi
cians. He has grown rich here and his magazine, the Omaha
"Bee", is the most influential in the West and, in general, he is
highly esteemed and respected. We stayed with him the three
days of our stay there. In the evening Czechs came to play me
a "Standerl" and when we were leaving, an American band
came, too, and played a few pieces. As you can imagine, a
banquet was not wanting and we were very jolly and the Czechs
were tremendously happy and so was I. Omaha is 400 miles

166

from our place and then we went to visit-guess who?-Father
Rynd whom I met on Czech Day in Chicago and do you know
where ? in the State of Minnesotta in the town of St Paul, 400
miles from Nebraska where there are also many Czechs. He is a
Moravian from Kojetin and so maybe we shall travel together.
I hope very much that I shall be able to pay a visit home to
Bohemia, if my contract is prolonged or if it isn't I must see
Bohemia, no matter what. I hear that the papers at home are
writing as if I wished to stay here in America for good! Oh no,
never! I am very well off here, God be praised, I am in good
health and am working well and I know that, as for my new
Symphony, the F major String Quartet and the Quintet (com
posed here in Spillville) I should never have written these works
"just so" if I hadn't seen America. You will hear later, after
their performance in New York. Simrock wrote and bought
everything I have and so I hope that by Spring you will have some
news of them. The "Dumky", Overtures, Symphony, Quartet,
Quintet, Rondo etc., while the "Te Deum" and "The American
Flag" for choir and orchestra will probably be published by
Novella.

With affectionate greetings, Yours,

Antonin Dvofak.

Dvorak to Dr. Kozdnek (see 159) in Kromefiz.Eduard Rosewater, factory owner
and publisher of the daily, "The Omaha Bee". Cleveland see 170, Benjamin Harrison,
President of the USA, 1888-1892. The cantata, "The American Flag", was published
by the firm of G. Schirmer in New York in 1895.

167. BACK IN NEW YORK

On the journey from Spillville to New York, we made a
stop at the Niagara Falls. When the Master saw this-one of the
world's wonders, he stood silent for a full five minutes, his gaze
fixed on the huge cataracts of water hurling themselves from a

167

height of 165 feet and finally exclaimed: My goodness, what
a symphony in B minor that will be

. . .In the afternoon the Master used to visit the (former)
Fleishmann cafe at the corner of Broadway and loth Street
where he met Anton Seidl, the then conductor of the New York
Philharmonic and, at the same time, conductor of German and
mainly Wagner opera at the Metropolitan Opera. Seidl was
an outstanding conductor, especially of Wagner he had lived
in close contact with that musical giant for some considerable
time and so the Master very often asked Seidl about Wagner-
how he worked and so on. They had very interesting conversa
tions and also discussions which not seldom became decidedly
"heated" but in the end everything always ended well both
it seems thought over their conversation and then when they
met the next day, one or other admitted that he had been
"partly" mistaken-and it was all right.

One day the Master asserted that the best of Wagner's
operas was "Tannhauser" with this Seidl did not agree and it
gave rise to a long debate which did not finish that day. As soon
as they met the next day, however, Seidl began-" Well, I was
thinking over our yesterday's discussion the whole evening,
I considered it from every angle and I admit that you are right
from the point of view of opera Tannhauser is the best. But
do you know Siegfried?" When the Master said that he had seen
it only once, Seidl, promised to send tickets for the next per
formance at the Metropolitan when he would be conducting.

The tickets came for seats in a box in the so-called "Diamond
Horseshoe", a row of boxes whose holders arrive at the perform
ance at the last moment or usually even after it has begun,
bedecked and overloaded with diamonds all in evening dress.
Of all this, however, we at this time knew nothing. The Master
put on an ordinary dark suit, I chose from my modest wardrobe
the darkest I had-but it was still pretty light. Whenever the
Master was to go anywhere, he was always in a hurry to be there
in time, and on this occasion he made more than usual haste.

168

The attendant looked at us in considerable surprise perhaps
because of our dress, perhaps because he was not accustomed to
show people to their boxes half-an-hour before the beginning
of the performance. The auditorium was still practically empty
and the Master, having pulled out his watch and looked at it,
said : "We've been in rather too great a hurry." Then we watched
the stalls gradually filling up and that helped us to pass the
time. Suddenly voices were to be heard in the neighbouring
box the Master looked round and immediately moved one seat
back I followed suit. The neighbours had come in evening
dress and those who came after them the same. And so we finally
reached the wall each in a corner and waited for the lights to go
down. At last the opera began. Round about ceaseless chatter.
The Master "looked" at the talkers but it had no effect. So he
paid no more heed to them and, although their talk was disturb
ing, listened attentively. After the first act we went home. Our
attendant again looked at us curiously perhaps thinking to
himself: "Strange customers these when others are only begin
ning to come, they go home."

At their usual meeting, Seidl asked the Master the next day
what he thought of "Siegfried". The Master confessed straight
away that he had gone home after the first act. The rendering,
what he had heard of it, was excellent but that he had enough
of that perpetual and constantly repeated rhythm

T2 m JTJ i

-&-

From J. J. KwariTs Reminiscences (see 158). From the period of Dvorak's
sojourn in America, a few pages with sketches of motifs for a B minor Symphony have,
indeed, been preserved. It is not known, however, if they are in any connection with
Kovarfk's report of the episode at the Niagara Falls.-. Anton Seidl (1850-1 898), born
in Budapest, a distinguished German conductor, was active in New York from 1886-
1898. Previous to that he collaborated as the friend of Richard Wagner in the preparation
for the first performance of the tetralogy "Der Ring der Nibelungen" in Munich,

169

1 68. DVORAK ON WAGNER

. . . From the conversation which followed, I saw that the
Master was very interested in Nietzsche: He put one question
after another which exhausted practically all I knew about the
philosopher and a good third of his questions remained unan
swered. Finally the conversation was concentrated on the essay
"Nietzsche versus Wagner" and here Dvofak said: "I think
nobody in the world has written anything like it against~W2.g-n.er.
Nietzsche must have had a great brain and in many respects he
is right. But in some things he does him injustice and great
injustice. You know you can talk a great deal about Wagner and
you can criticize a great deal, too-but he is undefeatable. What
Wagner did nobody did before him and nobody can take it
from him. Music will go its way, will pass Wagner by, but
Wagner will remain, just like the statue of that poet from whom
they still learn at school today-Homer. And such a Homer is
Wagner!"...

Josef Michl (see 4): "Z Dwrdkfnja *uyprd<veni" .Friedrich Nietzsche (1844-1900),
was at first an enthusiastic admirer of the Bayreuth reformer and in his essays "Die
Geburt der Tragodie aus dem Geiste der Musik" (1872), he saw in Wagner the ful
filment of his dreams of a tragedy growing out of Classical Greece and the cult of
Dionysus and Apollo. This admiration was further intensified in "Richard Wagner
in Bayreuth", written in 1876. "Der Fall Wagner" (1888) and "Nietzsche contra Wag
ner" (1889) to which Dvorak refers, mark, however, a complete reversal of Nietzsche's
view and attack Wagner sharply for his pessimism and nihilism, for the pathos of his
music and for his sympathy with the Middle Ages and Catholic mysticism.

169. SEIDL AND "THE NEW WORLD" SYMPHONY

One day at the cafe", Seidl said that he had heard that the
Master has a new symphony and asked him for permission to
perform it at one of the next concerts of the New York Philhar
monic. The Master thought it over-but on taking leave he prom
ised to give Seidl the Symphony to perform. That was in the

170

middle of November 1893. The following day Seidl informed
the Master that the symphony would be given at the concert to
be held about the I ^th December and that he should send him
the score as soon as possible. The same evening, before I set out
with the score, the Master wrote at the last minute on the title-
page, "Z Noveho sveta" ("From the New World"). Till then
there was only E minor Symphony no. 8. The title "From the
New World" caused then and still causes today, at least here in
America, much confusion and division of opinion. There were
and are many people who thought and think that the title is
to be understood as meaning the "American" symphony, i. e.
a symphony with American music. Quite a wrong idea! This
title means nothing more than "Impressions and Greetings from
the New World"-as the Master himself more than once explained.
And so when at length it was performed and when the Master
read all sorts of views on it whether he had or had not created an
"American" music, he smiled and said, "It seems that I have got
them all confused" and added: "at home they will understand at
once what I meant." I do not know, however, if he was not in
part mistaken about those "at home"...

At the first performance of the symphony on the i^th
December 1893, in the Carnegie Hall-at the Friday afternoon
concert which, in distinction from the evening concert, was called
a "public rehearsal", Dvorak was not present. I went alone-
the Master and his family heard the symphony at the Saturday
evening concert.

From J. J. Kwarik's Reminiscences (see 158). The Symphony "From the New
World" (see 162) was performed for the first time by Seidl with the orchestra of the
Philharmonic Society of New York at a "public rehearsal" on December i5th and then
at a concert on December i6th in the Carnegie Hall (see 171 and 172).

J7I

i yo. DVORAK RENEWS HIS CONTRACT

126-128 East i yth Street,

New York.
The National

Conservatory of Music of America.
Office Hours, 9 To 12 and 2 To 4.

Dear Dr. Tragy,

I have not yet received any reply to my last from Spillville,
Iowa, where I spent 4 months' holiday.

Now, however, I have something else that I must tell you.
I am to prolong my contract for a year or two years and I wanted
to ask your advice what I should do. My family circumstances
require me to put aside enough to ensure a provision for my old
age-you know very well that I love my country above all else
and am glad to offer my humble services where they are needed
and wanted, and that I wish, after my return to my country, to
go on working for the good and development of our national
art and shall, with God's help, fulfil what I have dedicated my
life to and what I have dreamt of.

So, dear and esteemed Friend, if ray family interest requires
me to stay one or two years longer, be assured that at your call,
should it be necessary I shall gladly return to my country and
beg you, if it is not troubling you too much, to send me your
answer straight away so that I may inform Mrs. Thurber (our
president) of my decision.

With the expression of my greatest respect,
I am, Yours truly,

Antonin Dvorak.

New York, 18 16/11 93.

My new E minor Symphony will be given here on the i ^th
and repeated on the i6th. It will be conducted by the well-

172

known Wagner pupil, Anton Seidl, director of the Philharmonic
Society of New York.

Dvorak to Dr. Josef Tragy (see 133) in Prague. Dvorak, held the appointment
in New York for another two school-years, i. e. 1893-94 and 1894-95.

171. TRIUMPH OF THE NEW WORLD SYMPHONY

. . . The famous Czech composer would certainly not be easily
satisfied if he were not extremely satisfied with the enthusiasm
which his new symphony evoked in a very large audience. After
the second movement he was given an enthusiastic ovation.
Storms of applause resounded from all sides. Everyone present
turned to look in the direction in which the conductor, Anton
Seidlj was looking. It was clear whither their gaze was directed.
At last a sturdily built man of medium height, straight as a
fir-tree from the forest, whose music he so splendidly interprets,
was discovered by the audience. From all over the hall there are
cries of: "Dvorak! Dvorak! And while the composer is bowing
we have the opportunity to observe this poet of tone who is able
to move the heart of so great an audience. He has a dark complex
ion, dark hair, thin in front. His short, dark beard is beginning to
turn grey. The large dark eyes are steady. His face is honest
and friendly and its expression reveals an open and guileless
nature. This is the man whom the audience is applauding.
Dr. Dvorak, hands trembling with emotion, indicates his thanks
to Mr. Seidl, the orchestra, and the audience, whereupon he
disappears into the background while the symphony continues.
After the conclusion of the work he is called for with stormy
insistence. He bows again and again and ever new storms of
applause break out. And even when he has left his box and
entered the foyer, the clapping continues. At last he returns to
the gallery. With what enthusiasm he is greeted! The whole
orchestra and Mr. Seidl are clapping too ...

From a notice in. the Neia York Herald (17. XII. 1893), a paper which showed
a special interest in Dvorak and his work.

173

172. DVORAK DELIGHTED AT THE SYMPHONY'S
SUCCESS

. . . The success of the symphony was tremendous ; the papers
write that no composer has ever had such success. I was in a
box; the hall was filled with the best New York audience, the
people clapped so much that I had to thank them from the box
like a king! ? alia Mascagni in Vienna (don't laugh!). You know
how glad I am if I can avoid such ovations, but there was no
getting out of it, and I had to show myself willy-nilly. Seidl said
he would wire you about the success. I shall have two more
performances on the 23rd and on the 3ist December. Paur
of Leipzig is conducting ... I am happy and congratulate you
and myself that the work is being published by your firm.
The Quartet and Quintet will be given next week . . .

to Simrock in Berlin, 20. XII. 1893 The Italian composer, Pietra
Mascagni, had earned great success in Vienna with his opera, "Cavaliera Rusticana"
shortly before Dvorak's departure for America. Emit Pauer, successor to Arthur
Nikisch in the direction of the Boston Symphony Orchestra. Dvorak's String Quartet
in F major, op. 96, was first performed by the Kneisel Quartet (see 161) in Boston on
New Year's Day 1894 and again, along with the String Quintet in E flat major, op. 97,
and the Sextet, op. 48, on the izth January of the same year, in the Carnegie Hall in
New York (see also 174).

173. DVORAK HOMESICK FOR BOHEMIA

. . . At the urgent request of brother-in-law DvoMk, I take the
liberty of troubling you after some time with a few lines. He
begs his dear friend to write to him at least once and is longing
for a letter from you; you know very well, he says, that of all
his friends you are the dearest and just for that reason he longs
to get some little note which would give him such pleasure.
Please be so good as to fulfil his ardent wish. In spite of his
splendid position and material prosperity he is terribly homesick
for his country. Dvorak and Otla miss home most of all.

On my departure from New York, when they all accompan
ied me on board, Dvorak broke into tears and said: "If I could,
I should go with you and were it only between-decks."

From a letter from Dvorak's sirter-tn-l&w, Mrs. KoutecM (see 161), to Alois Gobi at
Sychrow (see 33). New York 25. II. 1894.

174. CONCERTS AND NEW WORKS

-P. . , New York, 18 27/2 94.

Dear Friend, ,

Three cheers for youl

At last after i 1/2 years your long and longingly awaited
letter arrived. And how excited I was! And not only I-all of
us-Otilka and Mother came running downstairs, I sat down in
the sitting-room and played-"What is it?" and "Where is it
from?" What a calling out there was-and I-from Sychrov!
With what impatience and happy anticipation I opened your
letter. You have given me great pleasure, more than you know
and I thank you from my heart for this, I might almost say-
surprise. From your letter I see that you know about us, what
and how we are doing here.

Thanks be to God we are well and we do not worry about
anything else, though I often have troubles enough, but one
must overcome them. As you see, in spite of my work at school,
I have been fairly diligent. I have written a symphony which has
created quite a furore in America, but besides that I have written
a Quartet for strings and a Quintet with two violas. The Quartet
is in F major and the Quintet in E flat. In January there was a
"Dvorak Evening" given by an excellent quartet from Boston
(the Kneisel Quartet). In addition they also played the sextet-the
audience was again as enthusiastic as at the Symphony. I sat
with my wife among the audience and during the evening I had

175

to rise from my seat several times and thank the audience for
giving my new works such a splendid reception. I can, without
hesitation, count these three works as my best and most original.
All the critics are of the same opinion and one paper, the New
York Daily Herald, wrote in so many words: "Why did not
Dvorak come to us earlier if he can write such music here in
America?"

Besides a Sonatina for violin, I am just finishing a new work
"Suite" for piano. Perhaps you do not know that I am on good
terms again with Simrock. He has bought everything I had and
wants all my new things.

All three Overtures are out as I learn from the newspapers
here. The "Dumky" too,-and the Rondo for 'cello Brahms
himself was kind enough to correct the proofs and I must thank
him for doing so. He wrote to Simrock that he sends me his
greetings and has heart-felt pleasure in my "frohliches SchafFen"
-as he writes in his letter to Simrock. The Symphony, Quartet
and Quintet have also been bought by Simrock but these will
probably not come out till summer. I shall see to it that you get
all these compositions perhaps I may even hand them to you
personally in summer, for I intend to make the trip to Bohemia
this year, but of that I shall tell you more later. We should
leave (all of us) about the i ^th and could be in Prague by the
26th May...

With a warm embrace and greetings,
Your "devoted

Antonin Dvofak.

Will you be writting soon? I shall-

Dvordk to A. Gobi at Sychrw.-FoT the concert given by the Kneisel Quartet see
172. Other new compositions written in New York: Sonatina in G major for Violin
and Piano, composed between October igth and December 3rd 1893. Dvorak dedicated
it, as the jubilee opus 100, to his children Otilie and Antonin. The piano Suite in A
major, published as op. 98, was composed in February 1894.

176

"in
I

CO
OJ

175- PREPARATIONS FOR THE TRIP HOME

126-128 East 1 7th Street,
New York, 18 2/4 94.
Dear Dr. Tragy,

I know that I am probably in your bad books for being so
long in replying as there was nothing I could tell you for cer
tain. Only now can I say that (God willing) we shall soon see
each other in Prague. We have berths reserved on the boat
which sails from New York on the I9th May and so we hope
to be in Prague at the end of May. Then I shall have so much
to tell you that I shall be dinging your ears with my talk.
Some newspapers announced that I had signed a contract
for two years-but it is not true. Whether I shall remain or
not I do not know yet but we shall talk of that when I get
to Prague.

You are sure to have read about my Symphony in the
papers. It was a great triumph and it is now in the press (Sim-
rock has bought all my compositions and again wants new ones).
You were right that he would come and not I. I have also
written a new Quartet in F major and a Quintet in E flat for
strings (also in the press) then I have written a Sonatina (for my
children) for violin and piano, then a Suite for piano and 10
Songs from the Holy Bible, "David's Psalms".

So you see I have been busy enough and am, God be thanked,
well and in good spirits. Recently Simrock wrote me that Brahms
had mentioned me in one of his letters and said :

Sagen Sle dem Dvorak, daft ich ihn herzlich griifte und daft ich
mich fiber sem frohliches S chaff en sehr freue,

He was so kind, you must know, as to correct all my
compositions such as the Overtures and the "Dumky" that is
lie went through all the proofs from Leipzig and corrected the
misprints, which is the most tedious work a composer knows
but to my great surprise Brahms, with remarkable unselfishness,

took over this task. That is about all I have to tell you today
the rest in Prague. God bless you and

au revoir, Your deeply obliged and devoted

Antonfn Dvorak.

It is already half past eight and the packet-ship Havel sails
at seven in the morning for Europe, so I must hurry and post
the letter.

Dvorak to Dr. Tragy (see 133) in Prague. Dvorak kept to the date of departure
here indicated and arrived with his whole family in Prague on the 3Oth May 1894.
After a short stay he left for his favourite summer residence of Vysoka. 10 Songs from
the Holy Bible, "David's Psalms": " Biblical Songs" with piano accompaniment, op. 99
written in March 1894.

176. ON THE EVE OF DEPARTURE

-r^. T? j e- 1 New York, 18 20/4 94.

Dear Friend Simrock, ' it- y^

I expect you know what happened to the s. s. Ems on the
crossing. Having sailed from Bremen on March 1 7th, she was
damaged on the 23rd at sea, but was fortunately sighted by a
small ship and brought to the Azores 1000 miles off her course,
and so your letter and the music arrived only today, Friday,
April 2oth (i. e. about 5 weeks late). Many thanks for same.
I am very pleased to give you more details about my new small
compositions which I have just finished.

I have a Sonatina for violin and piano (easy), then a Suite for
pianoforte (of medium difficulty), then 10 new Songs (2 vols.)
taken from the Bible, and I think that the Suite for piano and
the Songs are the best things I have done in this field. Besides
these, I have a choral work (duration 20 mins.) perhaps you
could take everything. The things are sure to go very well and
the cost of printing will not be so great this time. I am not
sending you the things yet, but write by return so that the
letter reaches me before I leave for Europe I am sailing on the

178

1 9th May by the "Alter" via Bremen to Europe, and hope to be
in Prague by the 28th May.

How I am looking forward to seeing my native land again 1
Unfortunately I shall go there with a sad heart for I shall not
see my aged Father again. He died just four weeks ago!

Greetings from . , _

Antonm Dvorak.

For the Sonatina and Suite see 174 for the Biblical Songs see 175. The choral
work referred to here is the Te Deum. Dvorak's father, Frantisek, died in Bohemia
on March zSth 1894, only some days before the completion of the Biblical Songs

177. A GIFT OF THANKSGIVING

The celebrated master of music, Dr. Antonin Dvorak, do
nated to the Church here a new organ which was consecrated
on September 8th and dedicated to its purpose.
And I -played on the organ!

Antonin Dvorak.

Entry for 8. IX. 1894 in the School Chronicle of Tfebsko near Vysoka' where
Dvorak was fond of playing- the organ at mass (see 75 and 187). The new organ for the
choir of the church there was Dvorak's gift of thanksgiving for the safe return of
himself and his family to Bohemia.

178. DVORAK TO HIS CHILDREN

Otilka, you are the oldest and most sensible and I depend
on you and also on Anicka. Be good then and, Anynka, take
good care of yourself so that you don't fall ill.

Go and remember what I say often to church, you know,
Otilka, what I told you especially on Sundays see that you go to
church. Pray fervently, it is the one thing that can comfort you
and us. Look to it that the others, too, Mafka and Tonik, say
their prayers I am not worrying about Zicinka, she will do it

179

all right, the good little soul. More next time. I thank you,
Grandma, for everything, and commend you to God's keeping.
Your Loving Father and Mother,

Antonfn Dvorak.

From a letter written to the children in Prague on his second journey to America
in October 1894. After the summer holidays spent peacefully in the summer retreat
at Vysoka, Dvorak with his wife and younger son, Otakar, left on October i6th once
more for New York, which they reached on October 25th. The other five children
Otilie, Anna (Anicka, Anynka), Magda (Mafka), Aloisie (Zicinka) and Antonfn re
mained in Prague.

179. SAFE ARRIVAL

New York,
Dear Friend, Monday 29th Oct. 1894.

I know that you have always been a dear and rare friend
and so I wish to write to you knowing that it will give you a
little pleasure.

Now I shall tell you first of all that we got safely to this
country of America and that our journey was quite agreeable
except for about two days when it was so stormy that only very
few were not affected by seasickness and I was among the lucky
few, so that we may thank God that it fell out so fortunately.

We travelled on the Bismarck from Hamburg. She is a fine
ship and crossed the immense ocean, 3100 miles (not including
the 450 miles from Hamburg to Southampton), in 6 days, 10
hours and some minutes, so that we anchored before New York
on Thursday, the 2^th October at 8 o'clock in the evening.

We have been here only 3 days and so I have not really any
news for you I shall leave it for next time. In the meanwhile
accept my kind regards to yourself and your wife,

Yours affectionately, ^^ Dyof ^

D*uordk to AdolfHeyduk (1835-1923), a distinguished Czech poet, to whose verses
Dvorak composed the "Gipsy Melodies", op. 55 (36644). The letter was addressed to
Plsek in Bohemia where Heyduk was a professor at the Realgymnasium.

I 80

i8o. AT WORK AGAIN IN NEW YORK

By the s. s. Teutonic via England.

_ . New York, 18 18/12 94.

Dear Friend,

It is quite a long time since I wrote to you and as I have
not had any word from you, I think you must not have got my
first letter from New York.

We are well, God be praised, but this time we do not feel
so at ease as last year. We were used to the children and now
we haven't them and are sad at having to be without them.
Otherwise everything would be all right.

And how about you ?-everything all right? I am thinking
chiefly about whether you are in good health. You often used to
be all together on Sundays and then I always remember you and
think how happy I should be to be with you and among you I

The children write to us twice a week and we always await
the ships coming from Europe expectantly in the hope that they
have brought us something. And when a letter does come from
the children, you can imagine with what impatience we seize it
and read it.

They write that they are well and getting on nicely-only
Otla always writes how glad she would be to see us again in
Prague. I believe her and we the same.

In the musical world there is plenty going on here. The
New York Philharmonic presented me with an honorary diploma
as an honorary member and played my new Symphony not long
ago. In January again they will play all three Overtures, The
Symphony has been given in Chicago and many other towns and
everywhere it was a success.

The "Luzany Mass", which I composed at the request of
Mr. Hlavka-in the year 1887 (if I am not mistaken)-this mass
will be given at Christmas here in New York at the Catholic
Church of St. Stephen, and then in other towns such as Saint
Paul, where we were last year, in Minneapolis, in New Orleans

181

etc. And now I have still to tell you that I am working at a
concerto for violoncello. But I must not forget the chief thing :
A New Year is coming round again and greetings. I wish you
from my heart every good thing and especially health and content
ment and God grant that we shall see each other in the coming
year and that we shall be as good friends as we have always
been, which is the heartfelt wish of

Your devoted friend,

Antonin Dvorak.

Dvorak to Ant. Rus (see 81) in Pfsek. "The Luzany Mass": the Mass in D major,
op. 86 (see 112). Dvorak composed the famous Concerto for Violoncello and Orchestra
in B minor, op. 104, between the 8th November 1894 and the 9th February 1895 in
New York. It was the only work to be composed in this season and was the composer's
song of immeasurable longing and yearning for his native country.

1 8 1. MUSICAL EVENTS IN NEW YORK

. . . Now I am finishing the Finale of theVioloncello Concerto.

If I could work as free from cares as at Vysoka, it would
have been finished long ago. But here it is not possible on
Monday I have work at school on Tuesday I am free the other
days are more of less taken up in short I cannot give so much
time to my work, and when I could, again I am not always in
the mood etc.

In short, the best thing is to sit at Vysoka there I have the
best recreation, the best refreshment and am happy. Oh if only
I were there again!

I think that "In Nature's Realm" will not find favour in
Vienna but what can you do ? Everything is not for everybody
and everybody is not for everything. . .

The Boston Kneisel Quartet has already given its ^oth
performance of the F major Quartet. Not bad, is it ?

Only last week it was given here, and again it was a great

182

success for the overtures, on the other hand, they have not as
yet the same understanding.

All three were played here by the Philharmonic. Seidl con
ducted extremely well and the critics say they do not under
stand them the programme namely, what I thought and meant
by them! But almost nothing about the music! Only always
about the programme etc. Seidl and the orchestra like them very
well and that is enough in the meanwhile.

If you can, write again soon

With kindest regards, Your

Antonin Dvorak.

D-vofdk in New York to Josef Bole ska, composer, in Prague, 15. 1. 1895. For the
Kneisel Quartet see 161. The three Overtures: see 157.

182. HOME FOR GOOD

Dear Friend, VyS ki > 3 /7 ^

I should like to go to Luzany again in the first days of
September. I cannot stay longer than the i4th-I must be at
home.

So arrange it as it suits you best.

Ferdinand Hellmesberger wrote me that the Vienna Phil
harmonic wishes to play the Concerto and that he would be the
soloist. I am just writing to him. I do not know anything for
certain yet, whether it will be possible, as Simrock has not
written me. So I cannot tell you anything definite either.

We shall leave the other news for Luzany. Since I have come
back from America I have not put pen to paper, and so the new
quartet begun in New York is still not finished.

The first movement unfinished and of the others not even
the beginnings '.-Here at Vysoka I grudge the time and prefer
to enjoy the beauties of the countryside.

Give my kind regards to Mr. Hoffman and Mr. Nedbal and
to Mr. Suk-

Au revoir in Luzany Yours,

Antonfn Dvorak.

Do you not know vhere Ondficek is ?
and when he is going to America ?
or if he is going at all ?

D-L'ordf' at Fysokd to the -violoncellist, Hanus Wihan (see 157). Luzany see 112.
Ferdinand Hellmesberger, violoncellist, son of Josef H. (see 36) The new quartet:
String Quartet m Aflat major, op. 103, of which Dvorak wrote part of the first movement
in New York (March 1895), but the rest in Prague in December of the same year.
The well-known violinist, Frantisek Ondficek (see 62), went in 1895 on a six-months
concert tour of America.

183. DVORAK ADAMANT ON THE CELLO
CONCERTO

Prague, 3. 10. 95.
Dear Mr. Simrock,

The copyist is not finished yet, but next week everything
will be ready. I have had some differences of opinion with
Friend Wihan on account of a number of places. I do not like
some of the passages and I must insist on my work being
printed as I have written it. The passages in question can be
printed in two versions, an easier and a more difficult version.
I shall only then give you the work if you promise not to allow
anybody to make changes-Friend Wihan not excepted-without
my knowledge and consent and also not the Cadenza which
Wihan has added to the last movement. There is no Cadenza
in the last movement either in the score or in the piano arrange
ment. I told Wihan straight away when he showed it me that it
was impossible to stick such a bit on. The finale closes gradually
diminuendo-like a sigh-with reminiscences of the I. and II.
movements-the solo dies down to pp (then swells again-)

184

and the last bars are taken up by the orchestra and the whole
concludes in stormy mood. That was my idea and I cannot
depart from it. If then you agree to these conditions, including
the printing of the titles also in Czech, I am willing to give you
the Concerto and the Te Deum together for 6oooM (six
thousand marks).

With kind regards,

Ant. Dvorak.

Dvorak to Simrock, 3 X. 1895. Prof. Harms \Yihan (see 157).

184. THE BOHEMIAN QUARTET AND DVORAK

With Antonin DvoMk is closely bound up my own artistic
life and that of the Bohemian Quartet, for it is filled with the
artistic treasures of our teacher and master on which was built
up the existence of our Quartet. With them the Bohemian
Quartet harvested its greatest successes both at home and
abroad successes which, for us, are linked up with the subjective
experiences and impressions derived from the Master's composi
tions and from the reception which was given them everywhere
we appeared. And today, when we still return to Dvorak, again and
again, we are filled with the proud and happy consciousness that
it was we who, during our studies at the Conservatoire, gazed
with respect and bated breath into his face, that we were near
him, that we were allowed to sink our attention in the magic
circle of his deep and fiery eyes and that to us it was vouchsafed
to observe and to admire from close at hand and in all its aspects
his simple but great and noble spirit. We could scarcely have
foreseen thatwe should soon have the good fortune to stand in
a still closer relationship to our Master.

Dvorak it was, and again Dvorak, who became, with the
great number of his chamber works, the principal source of our

185

programmes, so that we still play Dvorak, today; nor has his
work lost for us any of its freshness, we play it with the same
emotion and love as we did for the first time, and we feel that
our relation to him has finally matured to one of lasting admira
tion and gratitude. And we feel the same attitude to him among
the audiences of all nations; everywhere the same enthusiasm
and still unabated interest when his free movements sing forth
the divine spirit of great genius, everywhere the same delight
in movement and rhythm, everywhere the same admiration and
respect for his amazing craftsmanship and invention. In his
works, the originality of his Slav soul exults, in other places,
weeps, everywhere exacting from the audience its tribute os
unfeigned admiration. And so with Dvorak we achieve succesy
after success, and in growing measure, and are consummatelf
happy in the conviction that though the present time is seeking
a new music and new trends for its expression, Antonm Dvofak
remains for us and for the world one of the Immortals.

From "Dvorak in the Recollections of the Bohemian Quartet" 1 by the leader of the
Quartet, Karel Hoffman (1872-1936).

185. DVORAK ON THE CREATIVE PROCESS

. . . How do you work out your ideas, Master ?
"Gluck is said to have affirmed that he has his opera com
plete in his head before he writes it. I do not know if that is right,
but to a certain extent I find it is true of myself. I always make
sketches which contain the substance of the motifs for my work,
the basic material for the intended musical expression. After a
period of intense thought, of conscious concentration of my
artistic *F } the work proceeds smoothly and quickly. My
imagination requires to be stimulated but then it carries me

186

along with it ... I work relatively little, only in the forenoons.
I do not work long, for when I do work, I do it at a stretch,
It does not tire me."

From an inter~uie-w "Bei Metster Dvorak", published in the German daily, "Poli-
tik" (26. XT. 1899), by Egon Sambsrk.

1 86. DVORAK'S METHODS OF WORK

. . . The Master, who was a tireless worker, at once fell into a
bad mood if he was without employment. He was more or less
irritable, bad-tempered, distraught, there was, so to speak, no
making anything of him, sometimes the most trifling question
put him in a fury, sometimes he answered but more often he did
not answer at all ; and so it was, always, when his mind was taken
up and his thoughts concentrated on a new work.

No sooner, however, was the future work decided upon,
his thoughts collected and work started than the Master was
quite a different creature; absorbed in his work, he took no heed
whether the earth turned from east to west or the other way
about, worked calmly and contentedly, was glad when his work
went forward satisfactorily, and if, as he was in the habit of
saying, "he brought something off", then he was in a particularly
good mood; a truly delightful person, always smiling and
joking; and if it happened that anybody came to the Master at
such a time with some request, no matter what,-none went away
unheard and if it was a matter of financial support the Master
emptied his pocket to the last heller-a proceeding to which
I was often a witness.

From the Memoirs of Josef J. Kovartk (see 158).

I8 7

1 87. LIFE ATVYSOKA

During his summer stay at Vysoka, Dvorak used to go for a
walk in the park and woods early every morning and often he
would wake us up at 5 o'clock and be surprised that we could
sleep when the thrushes were holding their morning concert
above our heads. Often he went to the Kounices and then came
to me at the gamekeeper's lodge, and besides he was fond of
walking in the fields, being often accompanied on his rambles
by one of the local teachers, Drazan, of whom he was very fond.

In the evening he used to go to the inn which was frequented
by miners and here he would tell them about his sojourn in
America which greatly interested them. He was also fond of
going to the neighbouring village of Stfebsko, to the parish
church, where he liked to play the organ he had gifted to the
church in thanksgiving for his safe return and that of his family
from America.

In the winter all was quiet at Vysoka and work went on in
the woods, but when spring passed into summer, when Mr. and
Mrs. Kounic arrived and the Dvorak family, things became
lively at Vysoka. In a little villa at the edge the wood, the poet
Sladek, for many years spent the summer with his wife and
daughter, Helenka. Nearly every day they all met at our place,
at the Dvoraks' or in front of the Kounic's villa. The Dvoraks
were always having visitors, Suk, Nedbal, the young Czecho-
American, Kovarik, t]je American, Hopkins, and many, many
others, so that it was very gay and noisy, and then Dvorak
usually disappeared into the woods for peace and quiet.

He liked, too, to sit in the courtyard where he would watch
for hours a flock of lovely pigeons his pride and delight.

Many of his works he would bring, maybe in the morning,
to play over to us, and we keep the piano on which he used to
play as a cherished souvenir.

From a letter by Jan Hertan (1860-1943), head gamekeeper at Vysoka', whose
wife was Mrs Dvorak's youngest sister Hopkins, an American who studied under
Dvofdk in Prague.

188

1 88. DVORAK - PIGEON-FANCIER

Fysokd by Pribram
Dear Sir,

Please forgive me for being so long in writing to thank
you for the lovely gift with which you have given me such very
great pleasure. My reason for not writing was that I wanted to
know whether these beautiful pigeons would settle. I waited
long till at last my efforts were rewarded. The French ones took
their time about it-they showed no inclination to go into the
dovecote with the other pigeons and only yesterday we put the
"black tiger" with the black pigeon, so that I think everything
is all right and there will be no more trouble.

It was really comical., I can tell you. The whole day I was
running from one cottage to another in the village for fear the
"Frenchies" might fly away. Everybody who passes by stops
to look at the lovely creatures. All the pigeon-fanciers here are
talking about them. Accept then my warmest thanks for this
delightful gift.

I remain, Your obliged and devoted

Antonin Dvorak.

Dvorak to Jindrich Stmist/, director of the choir and choirmaster in Tfebi'5
in Moravia, -who was also a great lover of pigeons and had given Dvorak a gift of some
rare birds.

189. DVORAK'S LOVE OF THE COMMON PEOPLE

. . . With his fine but unassuming nature, he inclined mainly
to the common people from whom he had sprung. I often used to
see him in the country inn at Vysoka playing "darda" with the
neighbours or talking with them about pigeons and farming in
general. Of these neighbours he was fondest of the farmer and

189

mayor, Mr. Fencl. A curious thing was that though he scarcely
ever talked about music and then only with reluctance, he talked
music very often with this neighbour and, as I learned later,
invited him to Prague at his own expense, took him to the
National Theatre to see one of his own operas, and having
shown him all proper hospitality, graciously sent him home
again.

Once on the Master's name-day, the village musicians
from Tfebsko, Vysoka and Bohutin came to play a "Standerl"
in his honour, having previously diligently practised some
"opera" pieces in order to please the Master. The Master thanked
them and invited them into the inn where he treated them
and then got them to play him some village music, whereupon
he said to the musicians: "Look, play me these things, that's
what I like, and these opera pieces leave them to others!"

From Reminiscences by Bohumil Fidler (see 75).

190. DVORAK'S OTHER PASTIMES

Something that is perhaps quite unknown to the general
public is that Father was very keen on gymnastics which at
first consisted in taking a chair and doing arm exercises with
it. Later he got himself dumb bells and exercised with them
early in the morning. He was also something of a sportsman.
His sport was skittles at Vysoka. Almost every Sunday forenoon,
and usually Thursday afternoon as well, was devoted to a game
of skittles, in an alley situated at the foot of the garden. The set
of skittles is still kept at Vysoka as a much-prized souvenir.

From Reminiscences by Dvorak* s younger son, Otdkar.

I9O

1 9 1. VISITS TO BRAHMS AND RICHTER IN VIENNA

Dearest Friend, Pra S ue > l8 2 3/ 12 95-

We are all, thanks be to God, well and rejoice to be able,
after three years, to spend a happy and joyous Christmas in
Bohemia! How different it was for us last year in America,
when we were far away in foreign parts and separated from all
our children and friends! But God has been pleased to grant us
this happy moment and so we all feel inexpressibly glad!

I am now working very hard. I work so easily and every
thing goes ahead so well that I could not wish it better. I have
just finished a new G major quartet and now again am finishing a
second in A flat major. Two movements are quite complete and
I am just writing the Andante, and expect to be finished with
after the holidays.

I must also tell you that I was in Vienna with my wife a
week ago. Brahms was tremendously pleased. We were together
nearly all the time. I went to see Richter and played over the
E minor Symphony to him. He will give it at the 6th concert
(about the end of February) and I must go there for it.

You say you are coming to Prague ? Cannot you come to the
Philharmonic Concert on the 4th January? It would be so nice.
I shall be conducting the A flat Rhapsody, Othello, then the
Symphony and the Biblical Songs with a small orchestra. Ar
range it so that you can come.

Greetings from us all,

Your affectionate friend, A -p. v ,,

5 A. Dvorak.

Dvorak to A. Gobi (see 34) at Sychr&u. String Quartet in G major, op. 106, was
composed between the beginning and the 28th of November 1895, earlier than the
A fiat major Quartet begun in New York (see 182) and finished on the 3Oth December
of the same year. Both works were the expression of the joy felt by Dvorak at his return
for good to his beloved homeland. The Symphony referred to is the "From the New
World", which was performed by Richter with the Vienna Philharmonic on the i6th
February 1896. At the concert of the Czech Philharmonic held in Prague on January
4th 18965 Dvorak conducted the III. Slavonic Rhapsody, the Biblical Songs with
orchestra, the "Othello" Overture and the "From the New World" Symphony.

191

192. VIENNA AND THE "NEW WORLD SYMPHONY"

... I was in Vienna on the 1 6th February 1896. Richter sent
me a telegram. It was a great success and the audience gave me
a grand reception. I sat with Brahms in the Director's box.
The applause was so great that I had to bow from the box three
times after the Largo and again three times after the Scherzo,
and after the Finale I had to go down into the hall, and show
myself to the appreciative audience from the platform. I have
never known such a success in Vienna. I thank God for it!

Your

Ant. Dvorak.

Dvordk to Simrock in Berlin, 19. II. 1896. See 191.

1 93. DVORAK - BRAHMS - BRUCKNER

. . . Dvorak was seized with a sudden longing to see Brahms
and went with us once to Vienna. It happened that on that occasion
we played, on one evening, three masterpieces of new chamber
music: the B flat major Sextet by Brahms, the A major Sextet by
Dvorak and a Quintet by Bruckner. I went with Dvorak and
his wife to visit Brahms and it is a visit I shall never forget.
Brahms tried to persuade Dvorak to move to Vienna and because
he knew that he had a big family, he said: "Look here, Dvorak,
you have a lot of children and I haven't almost anybody. If you
need anything, my fortune is at your disposal." The tears came
into Mrs. Dvorak's eyes and Dvofak, deeply touched, seized the
Master's hand. Then the conversation turned to faith and relig
ion. Dvorak, as is well known, was possessed of a sincere and
almost child-like faith, whereas Brahms 's views were quite the
opposite. "I have read a lot of Schopenhauer and look on things
differently," he remarked. . . On the way back to the hotel, Dvo-

192

-o

^ r;
t/j

rak was more than usually silent. At last after some considerable
time he exclaimed: "Such a man, such a soul-and he doesn't
believe in anything, he doesn't believe in anything!" A few
days later, Dvorak received from Brahms Sabatier's book
"St. Francis" in which he then read diligently.

On the evening on which the Bruckner Quintet was to be
performed, we went before the concert to visit Bruckner and
invite him to the performance of his work. At that time Bruckner
occupied the well-known vaulted room in the Belvedere. We
found him with his coat off at his writing desk and we had the
impression that this was the home of a man who lives altogether
in the world of the spirit and for his work. He looked at us with
out a sign of recognition, with a far-away look in his eyes and
did not at once grasp what we were wanting. Only after a while
did he comprehend: "You want me to come to the concert.
I can't do that. I am so often ailing and I have too much work.
You see I am busy working at the Adagio of the 9th and so I
must stay at home today." When we took leave of him he was
suddenly very touched. Tears stood in those remarkable eyes
of his. He saw us out in his quilted vest and blew us kisses as
long as our carriage remained in sight.

Josef Suk (see i): "Aus meiner Jugend" , Wiener Brahms-Erinnerungen (Published
in the Viennese musical magazine "Der Merker" II.). The visit to .Brahms and to
Bruckner took place on the ayth March, 1896, the day of the concert in Vienna by the
Bohemian Quartet. It is not known whether Dvorak also went to see Bruckner. Bruck
ner died on the nth October 1896.

194. A TRAVEL REMINISCENCE

... In the meantime we, along with Dvorak, had reached
the "Palavsk6 hory". "What is that? I never noticed it before.
What a curious thing!" I told him all I knew about the hills,
about where you go to climb them, I mentioned the legend-but
the Master no longer seemed to be listening. Knowing his way,

193

I was sure that he was turning something over in his mind and
that in a little while he would come out with something original-
the result of his cogitations. I was just beginning to think I had
been mistaken, but in a little the Master began: "I always envied
Wagner that he could write. Where would I be today if I could
write! And I can't speak either.-But listen," and he raised his
voice under the stress of some strong emotion, "if I could speak
I should call our nation here and I should climb up that hill and
from there I should tell them something, and tell it them straight,
but I can't speak". And then he relapsed once more into silence
and for long gazed out from the carriage at the "Palavske* hory".

From "Reminiscences of Master "Dvorak" by Karel Sdza e us&j (1858-1930)3 Czech
musical critic and secretary to the Philharmonic Society "BesedaBrn&nska". Szavsky
accompanied Dvorak on the return journey from Vienna via Brno to Prague from the
visit described above. "Palavske" hory", now called "Vrchy Pavlovske" in the south
of Moravia.

195. DVORAK'S SILENCE

Once on a Sunday forenoon we met at Velebin Urbanek's
shop. DvoMk invited me to go to a wine-shop. I was not accus
tomed at that time to drink anything in the forenoon and was not
very willing to comply. But Dvorak insisted: "Please do me the
favour, I should not go alone." So I said I would and we sat
down in Masaryk's little Moravian wine-shop. I began a con
versation several times but Dvorak did not reply. I recalled his
recent visit to Pisek. And still Dvorak remained silent. So I fell
silent, too, and we sat opposite each other without a word.
When Dvorak had finished his glass, we paid and went out. In
the street he shook me warmly by the hand and said: "You
don't know how grateful I am that you went with me; you have
done me a great service," and we parted . . .

Front "Musical Memoirs" by Ladislav Dolansty (see 73). Velebm UrbSnek
see 50.

194

196. DVORAK'S CREATIVE CREDO

. . . "That would be lovely," exclaimed one of the pupils
enthusiastically. "Of course it would be lovely," rejoined the
Master sharply, "but the thing is to do *V".The last words were
pronounced with such emphasis that it was almost a shout. He
immediately, however, moderated his tone and continued calmly :

"To have a lovely thought is nothing so remarkable. A
thought comes of itself and if it is fine and great it is not our
merit. But to carry out a thought well and make something great of
it, that is the most difficult thing, that is, infactw\.\ How often a
thought seems simple at first sight but in carrying it out such
difficulties arise I call them 'knots'-that you can't untie them,
not if you were to do I don't know what. I, for instance, would
like to compose the 'Nazareth' and 'Golgotha' and, with
God's help, maybe I should manage to do it so that I should be
pleased with it and others, too. But who would write the text
for me ? We have, it is true, some excellent poets but I know that
not one of them would write it as I should wish to have it and as
I should need it. I once said to Vrchlick^ that I should like to have
long words of one syllable at the end of the lines and he told me
that he did not know where to get them from. I have often
thought about it and / am sorry that I am not a foet myself. If
I could write poetry, I should write the text myself and, in between
writing the verses, I should know how it would look in the score J . . ."

From "My First Lesson With Dvor&k" by Josef Michl (see 4).

1 97. FIRST PERFORMANCE OF THE VIOLONCELLO
CONCERTO

A*- j j -^ j Prague, 18 10/4 96.

My dear, good Friend, & 3 '^ 7

. . , Seeing you have read in the newspaper about my Vienna
concert, there is no need to write anything further about it. It

195

turned out wonderfully, and that's that. That it came off well in
London, too, goes without saying. The 'Cello Concerto was a
great success and Mr. Stern, who is performing the Concerto
tomorrow here in Prague, played my composition to my com
plete satisfaction, though here and there I should have liked it a
little different but one must not be so finical and must be glad
to find somebody to play the Concerto at all. If I were to tell you
the whole story connected with Mr. Stern it would cover I don't
know how many sheets of paper. Before I left for London, on
March I4th, Mr. Stern came from Leipzig to Prague-he was
here over a fortnight and lived at considerable expense at a hotel
-I worried at him more than enough-I couldn't help it-he did
everything very willingly and worked with enthusiasm. We
studied and practised every day and still it wasn't what I
wanted he was quite in despair and I always insisting that it was
good but that it must be still better and then it really was. When
I saw that it was going all right at last, I said: "We'll away to
London and you shall play!" He was overjoyed and we went.
That it turned out a success you will probably have read in
the newspapers. The German "Politika" carried a number of
notices and now, since Mr. Stern has returned to Prague, I have
a whole heap that he brought me. I shall tell you about every
thing when we see each other. You probably know about the
two String Quartets I have written and now I am finishing the
Symphonic Poem (The Golden Spinning-Wheel). "The Water-
Goblin" and "The Noonday Witch" are already in Benewitz's
hands and they will perform all three compositions at the pri
vate musical evening which is to be held. I hope that you, too,
will be there to hear the new things I have written.
Till then au revoir from a full heart!

Greetings from all, Your affectionate

Antonin Dvorak.

Dvorak to A. Gobi at Syc&rov.Far the Vienna concert see 192. The Concerto
for Violoncello in B minor was first performed at a concert of Dvorak's works by the
Philharmonic Society in London on March i9th 1896, on this, his ninth and last visit to
England, at which the composer conducted also the G major Symphony and the Biblical

196

Songs. The solo part of the Concerto was played by the English violoncellist, Leo
Stern, a native of Brighton (1862-1904) -who again played the Concerto at the concert
of the Czech Philharmonic in Prague on April nth 1896, which Dvorak also conducted.
The Symphonic Poems based on the Ballads by Karel Jaromir Erben (see 84} were: "The
Water-Goblin", op. 107, composed between January 6th and February nth, 1896;
"The Noonday Witch", op. 108, composed in February and "Tie Gddm Spinning-
Wheel", composed between March 4th and April 25th of the same year. All three works
were performed for the first time by the orchestra of the Prague Conservatoire in Prague,
on June 3rd 1896, under the baton of Director Anfonfa Bennett-jtz (1333-1926).

198. INTEREST IN THE SYMPHONIC POEMS

Dear Mr. Simrock, V ? S ki > l8 l8/8 ? 6 '

Silk is with me and is just wanting to go Pf ibram to catch
the Prague train and had a letter for you with him which,
however, I am holding back as, at this very moment, a messenger
has just arrived from Pfibram with your letter.

First of all kindly tell me when the Symphonic Poems are
likely to be out. Hans Richter writes me from Bayreuth asking
when the parts will be ready. I promised him in Vienna that
he would be among the first to present these things to the musi
cal world. You know what this man means for me and it would
be in my interest and in yours if you could manage to get the
things out as soon as possible. He asks me if he is to include
them in his programme for London (November) and Vienna and
he is going to Paris, too. He wants to conduct my works. So tell
me, please, immediately so that I can write to him.

Our Bendl is seriously ill. I was wired for by Wihan to
come to his bedside and returned from Prague yesterday. He is
one of my oldest friends, in my young days he was of great help
to me and made me familiar with Beethoven's symphonies, and
for that I must be grateful to him-God grant he may recover 1
With kind regards,

Ant. Dvorak.

Dvorak to Simrock in Berlin. The printing of the first three Symphonic Poems
was delayed till the end of 1896. The composer, Karel Bendl (see 16).

197

199- DVORAK'S REPLY

Vysoka by PHbram, 20. 8. 1896.
My esteemed Friend,

Your letter directed to me in Prague reached me with some
delay so I hasten to reply to your requests straight away. My
three Symphonic Poems are being printed by Mr. Simrock.
As he writes to me, today, he cannot fix an exact date but assures
me that they will be ready by November, and that he, himself,
will inform you.

As soon as I get the proofs, I shall tell you how the matter
stands.

I laid special stress in my letter to Mr. Simrock on how
important I consider it that you should perform these works
and as soon as possible. I remember very well (and I must say
at once with gratitude) how, after the first performance of my
Rhapsody in A flat major in the year 1879, under your direc
tion, that composition went the round of the musical world.

And this time, too, I have the highest hopes. These three
compositions are from our folk-lore. They are entitled: I. "The
Water-Goblin", 2. "The Noonday Witch" and 3. "The Golden
Spinning-Wheel".

I am looking forward like a child to hearing these composi
tions conducted by you.

You write to me something about Paris. In this connection,
I should beg you to choose my E minor Symphony "From the
New World". It would be a good choice I think for Paris, but
I do not wish in any way to dictate. Only, should you wish to
play any of my symphonies, then this is the one I should prefer.

One more thing-Could you let me know when you have
your concerts in London? I must write to Simrock about it,

With warmest greetings,

Your devoted and ever grateful

Antonin Dvofdk.

198

Dvorak to Hans Ricfaer in Bayreuth.fcf the performance of the III. Slavonic
Rhapsody in A flat major under Richter's baton see 37. At his concert with the Co-
lonne Orchestra in Paris, Richter gave only the "Carnival" Overture and not till the
3rd April 1898. He conducted the "From the New World" Symphony, hovrcver, at the
Philharmonic Concert in Budapest on the gth February 1896, and again, in London, on
the 4th June of the same year.

200. RICHTER PRESSES FOR DISPATCH OF
SYMPHONIC POEMS

Dear Friend,

As a postscript to my telegram I must ask you to urge
Simrock very strongly to send the score and parts to London to
reach, me by the i6th October at the latest and to address them:
N. Vert, 6, Cork Street, Burlington Gardens, London W.
I must have the music by the 1 6th for I have only two rehearsals
for the London concert, the best guarantee that your work will
be well studied as the rest of the programme consists of well-
known works so that I shall have the whole time at my disposal
for the novelty. On the 2oth we are going to the Provinces,
where we shall perform your work in all the big towns : Liver
pool, Manchestrer, Birmingham, Leeds, Brighton, Glasgow,
Edinburgh, Nottingham, Oxford and Newcastle; after the
success of which I personally have no doubt, the Societies of
these towns will also hasten to acquire this novelty. It is then
in Simrock' s own interest if it is ready in time. If he doesn't send
me the parts in time, I shall lose six provincial towns and shall
have only one rehearsal. I want, however, to gain a complete
victory... So, please put pressure on Simrock.

My warm thanks for your sincere words of appreciation.
Believe me, too, that I have a warm interest in your works and
that I always apply myself with enthusiasm to their study and
performance. It was so, is so and shall be so. At the i. or 3.
Philharmonic Concert, I shall then present the work here in
Vienna. And here I must at once insist that you take up your

199

abode this time, along with Madam, your wife, at Hotel Richter
and no excuses!

When can I have the score of your work, if even only for a
week. For i . I must study it and 2 . I must write out the principal
motifs for Barry for his programme notes, and, what is important,
let me know in this connection what are your wishes and send
your own explanatory notes. Should you wish to telegraph,
then only: Hofoper, Vienna is enough.

Awaiting your favourable answer,

I am, with best regards, Your ever devoted

Hans Richter.

I shall also conduct the new work in Budapest as I am con
ducting the Philharmonic Concerts there. Simrock will make a
fortune out of me, i. e. out of my zeal for you, dear Friend.

The delay in. printing the music (see 199) prevented Richter from carrying out
his intention to perform Dvorak's Symphonic Poems on his concert tour in England.
Charles A. Barry, director of vocal recitals in London, editor of the "Monthly Musical
Record" and music critic of the "London News". Richter speaks consistently of one
composition in the erroneous idea that all three Symphonic Poems form a single work.

201. THE DEVIL AND KATE

The friendly dwelling of our celebrated Master as yet
untouched by any modern refinements of comfort is, as you
may know, in Zitna ulice, in an old house to the right across the
courtyard, and two stairs up. A latticed door, which opens
easily to those familiar with it, shuts off the composer's family
sanctuary from the outside world. A longish passage leads to the
glass door of the flat itself.

I enter the well-known room, which is here the drawing-
room, the friendly room which, devoid of all superfluous luxury,
evokes a truly agreeable feeling in the visitor. At the right is an
open piano, then a laurel wreath, at the window a writing desk.

200

On the left is a drawing-room table and chairs. An ordinary car
pet is surrounded by not very expensive mats. This is the "best
room", the "Prunkstube" of the Czech Master whose fame fills
the world...

"Master, when did the idea occur to you of composing
"The Devil and Kate?"

"This opera has a very interesting history. Once it may
be two years ago I met Dr. Rieger. We stopped to chat and
Dr. Rieger asked me: 'What are you working at?' I replied:
C I am working very hard.' Dr. Rieger then looked into my face
and inquired further: 'Wouldn't you like to compose an opera?'
'Certainly, dramatic music has a great attraction for me'.
Dr, Rieger : 'Director Subrt has a libretto by his nephew entitled
The Devil and Kate. If you are interested, read it through.'
I went to 'Director Subrt and, on reading it, was not a little
attracted by it. Good friends such as V. J. Novotnf , whom I asked
for advice, had various objections and pointed out that the text
had nothing lyrical in it and even Dr. Rieger, who took a lively
interest in my new opera, was of the opinion that the opera in
this respect was not suitable. I, however, considered it original
and I liked it as being something entirely new. I saw in it a
combination of characteristic folk and fairy-tale elements and
was quite ready to forego the lyrical element, which, in this case,
could be of only subordinate interest..."

From an interview <with the journalist, Egon SamberLThe writer, Adolf Wenig
(1874-1940), the author of the libretto "The Devil and Kate", was the nephew of the
Director of the Prague National Theatre, Fr. Ad. Subert (see 210}. 7. J. No<votn$

202. DVORAK'S APPEARANCE AND MANNER

Engraved in my mind there remains- like an impression in
bronze the likeness of the great artist and his whole way of
speaking. The short, broad skull, the low furrowed forehead,

201

the eyes deep-set and luminous beneath thick black brows, the
somewhat prominent cheek-bones, the reddish blunt-tipped
nose and a lively mouth even when not speaking. The whole com
plexion very dark, a bristling moustache and a close-cut full
beard, hair thin on the top but elsewhere a thick mane. And this
is the picture I keep in my mind of this great creator in tone.
And I always have it before my eyes in the bust which has cap
tured the true spiritual expression of Dvofak's countenance-
only stressing something here or there as rendered by the gifted
young sculptor, Josef Maratka.

Notwithstanding the flashing of the eyes, which at times
looked searchingly, almost mistrustingly, at times with the open
gaze of a child, and notwithstanding the mobility of the lips,
Dvofak's face had always a certain dreaminess and even meditat-
iveness of expression. He looked as a rule very serious, rarely did
he laugh. Nor did he often joke himself though he was amused
by the jokes of others.

He used to come and see me at my office at the National
Theatre either when he had finished some work something new
or the revision of an old work-or when rehearsals of his works
were on. I do not remember him ever sitting down. He usually
walked to and fro or stood at my desk or at the window, gazing
into space, now in one direction, now in another, spoke or
listened. And it would happen that in the middle of a sentence
he would suddenly break off and become lost in thought. In
his mind some musical idea had taken wing and was soaring
and singing like a skylark and sometimes he straight away
began to whistle it. Only after a while, and as if there had been
no interruption, he would return to reality and to what he was
saying. Or during a conversation about a certain subject, he
would suddenly start speaking about something quite different,
his mind fully occupied with it. And sometimes, in the middle
of a conversation, he would turn on his heel with a greeting, or
even without, and be gone. And he would maybe return in a
few days "to finish what we were talking about".

202

That was all due to the music in him. He thought, for the
most part, not in words but in tone. It was almost to be seen
in his eyes and face, a constant boiling and gushing up of the
geyser of sound in those innumerable melodic combinations
which form the substance of his work.

From "Reminiscences" by Frantisek Adolf ^ Hubert (1849-1915). The noted Czech
sculptor, Josef Mafatka (1874-1937), who, in his youth, lived in the same house as Dvo
rak, took the death-mask of the Master's head and hand and created his bust for the
foyer of the National Theatre in Prague.

203. THE BIRTH OF A NEW OPERA

The libretto "The Devil and Kate" was not written "to
order". It was finished and I did not know what its fate would
be. My uncle. Director F. A. Subert, knew from the critic,
Emanuel Chvala, that Dvorak was looking for a libretto and it
was through him that it was offered to the composer. It suited
his purpose and he accepted it. From the character of the work,
the deliberate arrangement and presentation of the material,
I judged that it would meet the requirements of Dvorak's type
of creative work very well. Indeed, were I to write a libretto
especially for Dvorak I think I couldn't have found more suit
able material. When the Master was engaged in composing the
opera I went to see him quite frequently. He asked for several
changes in the text but in general not of a substantial kind.
Sometimes the text was too rapid in its movement and so unfa
vourable to the epic breadth of his musical expression . . .Dvorak
liked to have every stage situation first explained before he com
pleted the composition of the corresponding scene. On one
occasion, when I arrived, he sat down at the piano, found a cer
tain place in the text and in his music, and said: "And now
tell me how do you picture the Devil carrying Kate on his back.
It's easy enough for you to say 'on his back' but how is he going

203

to sing at the same time?"-I explained that it would have to be
merely indicated if Kate was heavy and the Devil not very ro
bust. "All right," said the Master, and strode to the door:
"So here is the gate to hell. You be the Devil and show me how
he will do it." And we had a nice practical rehearsal of Kate
being carried off to hell . . .

The librettist Adolf Wenig (see 201): "Reminiscences of a Librettist". The opera,
"The Devil and Kate" was composed as op. 1 12 between May gth 1898 and January apth
1899. The theme of the opera is a Czech folk-tale about a village scold who, with the
help of a shrewd shepherd, tricks the Devil himself and made it hot for him even in his
own Hell. Dvorak's musical conception is of a typically folk character and imbued with
irresistable humour.

204. DVORAK'S LAST VISIT TO BRAHMS

. . . Forgive me for being so long in answering but do not be
surprised as I work till the evening and then I am tired and
do not think about anything. Today, however, I must make
an exception. I was in Vienna and visited Master Brahms, and
saw how true, unfortunately, is all I heard from you. Never
theless let us hope that all is not yet lost! God grant it may be
sol...

A letter arrived today from Suk in London. His Quartet
is a great success. The "Times" does not say much but is
enthusiastic. Other papers, too, give the work high praise. Our
Quartet make the trip every week from Holland to London and
are having a good time . . .

Dvorak to Simrock in Berlin, 19. III. 1897. Dvorak, having heard that Brahms
was seriously ill, went to Vienna to visit him in the middle of March 1897. It was the last
meeting of these two great friends. Brahms died shortly afterwards, on the and April
1897, and Dvorak, in the company of other notable personalities, attended his funeral.
Suk's Quartet inB flat major, op. n. Our Quartet: the Bohemian Quartet.

204

205- DVORAK'S COMPOSITIONS IN AMSTERDAM

. . . This evening I got a letter from Suk. Last Sunday there
was a great sensation at the Philharmonic Concert in Amsterdam.
The whole concert was dedicated exclusively to my compositions,
i. "In Nature's Realm" (overture), 2. the Violin Concerto
(Hoffmann), the "From the New World" Symphony. Suk,
Nedbal and Wihan have only the best to say of the performance
under Mengelberg's baton...

Dvorak to Simrock in Berlin, 21. II. 1898. The concert in Amsterdam, conducted
by the Dutch conductor, Wilhelm Mengdberg (1871-1951) took place on Februar ijth
1898. The Violin Concerto was played by the leader of the Bohemian Quartet, Karel
Hoffmann (see 183).

206. GOOD NEWS AGAIN FROM RICHTER

Queen's Hotel, Eastbourne.

TT j T> j June 7th. 1898.

Honoured Friend, J ' y

Your "New World" Symphony gave us all great delight
again at my 2nd Concert in London on the fourth of this month.-
In Paris, too, your "Carnival" took on very well and had a great
success with the public. What have you got this year for our
Philharmonic in Vienna? I shall be at home from the 2Oth of
this month, if you have any news for me.

With best greetings, Your devoted

Hans Richter.

Hans Richter in Eastbourne to Dvorak at 7ysokd.For the performance of the"Car-
nival" Overture with the Colonne Orchestra in Paris see 198,

205

207. TWO MORE SYMPHONIC POEMS

Prague, June 22nd 1898.
Honoured Friend,

A thousand thanks for your kind letter from Paris and
from London and the same measure of thanks for your per
formance of my "Carnival" Overture and the "New World"
Symphony in both these cities.

You ask me if I have anything new ? Certainly, not much
but at least something. Two new Symphonic Poems, both still in
manuscript but the score and parts are at your disposal straight
away. Even if the two works should be engraved by autumn,
I shall arrange with Simrock for you to be able to play the com
position in Vienna from manuscript. One takes about 25 minutes
-"The Wild Dove", the other will probably be entitled "The
Hero's Song". Neither have yet been played anywhere.

If I knew that you would be staying in Vienna in summer,
I should like very much to bring you the things so that we could
go through them.

I have been in Prague for a fortnight and am leaving on
Friday for Vysoka by Pflbram where I shall remain till autumn.
All correspondence will be sent on to me at Vysokd and if you
should want anything, all letters will reach me there.

Are you in Bayreuth ? This summer I should really like to
go there.

So once more my best thanks for all the tokens of your
goodwill and send word soon to your sincere friend and admirer,

Antonin Dvorak.

Dvordk to Hans Richter in Vienna.- -F 'or a correct report of Richter 's concerts in
Paris see zoo. The two new Symphonic Poems: "The WtLaDove", op. no, was written
between the zznd October and the i8th November 1896, "The Hero's Song", op. in,
between the 4th August and the 25th October 1897. To visit the Wagner Festival
in Bayreuth was Dvorak's long-cherished but apparently never realized wish (see
also 235).

2O6

2o8. A NEW INTERPRETER- GUSTAV MAHLER

TT- 1 1 t i -** . Vienna, Oct. ^rd 1898.

Jriighly honoured Master, 5 7

As you may perhaps know, I have taken over the direction
of the Philharmonic Concerts, and, as I have been told that you
have just finished a new work, I take the liberty of asking you to
entrust the Philharmonic with its first performance. I should be
greatly indebted to you for a favourable answer.

Your devoted

Mahler.

Gustanj Mahler in Vienna to D<uordk in Prague.ln. 1898, Richter resigned from
his post as conductor of the Vienna Philharmonic and was succeeded by Gustav
Mahler (1860-1911), from 1897 also the new director of the Hofoper in Vienna.

209. FAMILY CELEBRATIONS

183/1198.
Dearest Friend,

This is to let you know that on the I7th November of this
year, we shall celebrate our Silver Wedding and at the same time
the marriage of our Otilka to Mr. Suk, a member of the Czech
Quartet.

It would give us great pleasure to have you with us on that
day, and so I beg you, if it is at all possible, come-do come!
With warmest greetings, Yours,

Antonin Dvorak.

Dvorak in Prague to A. Rus (see 81) in PfseL The wedding of the composer
Josef Suk (see i) and Dvorak's eldest daughter, Otilie, took pkce on the lyth No
vember 1898.

207

2io. FAMILY CARES AND OTHER NEWS

Dearest Friend,

. . . That I have work and cares more than enough I do not
need to tell you, indeed I am now so distracted that my work is not
making any great progress. I have two acts complete in score and
am now working at the third, but as I said, it is going ahead
slowly and I don't see much progress.

I wonder if you know that my new Symphonic Poems, "The
Wild Dove" and "The Hero's Song" are to be performed in
Vienna.

The Director of the Opera, Gustav Mahler, is conducting
the Philharmonic, as Richter's successor, and he wrote to me a
short time ago asking whether I had something new ?-I replied ,
that I had two new compositions and he wrote at once in reply:
"Also schicken Sie mir beide Werke."

And so I did and both will be played for the first time in
Vienna, but in Prague, too, I expect, in due course.

Today's papers contain the announcement of our wedding
and congratulations are pouring in from all sides.

Wedding cards have been sent to England, Germany,
Holland etc. If you saw the mountains of envelopes-some hun
dreds at the least you would be horrified. They worked at it
for several days.

Oh well, small pains small gains 1

Your affectionate and sincere Friend,

Antonfn Dvorak.

D-vordk to A. Gobi (see 33} at SycArov.'M.y work: the composition of the opera
"The Devil and Kate" (see 201). For Mahler's performance of Dvorak's works in
Vienna see 208.

208

23 Leos JanAcek,

24 Dvorak (1886)

an. MAHLER KEEPS HIS WORD

Highly honoured Master, Vienna > '7 th Nov '

I have just received your second work "The Hero's Song"
and, as with the first, am quite enchanted with it. If you agree,
I shall perform "The Hero's Song" first at the 3rd Philharmonic
Concert on the 4th December. Rehearsals will begin in the week
preceding the 4th December and I should be very pleased if
you could be present not only at the performance but also at the
rehearsals. Be so kind, then, as to let me know when you are
coming.

Your devoted

Mahler,

Gusta<v Mahler (see 208) in Vienna to Dvorak in Prague. Dvorak sent to Vienna
"The Wild Dove" and "The Hero's Song" and Mahler accepted and performed both
works: first "The Hero's Song", on December 4th 1898, the composer being present
at this the first performance of the vork, and then "The Wild Dove" on December
3rd 1899.

212. SUCCESS OF "THE DEVIL AND KATE"

My dear, good Friend,

I have long been wanting to write to you again but you
know how very busy I have been lately, what with the composi
tion of my new opera, and then rehearsals and constant nervous
strain so that I really was not properly disposed to sit down and
write. So the opera was given on the evening of Thursday, the
23rd, and on Sunday evening again, and was attended by a big
audience and with such success as I had not expected to see in
our days. To write about it is, I think, unnecessary, for you are
sure to have read in the newspapers about how the premiere
turned out.

209

The opera thus found decided favour. First of all it was
well received by the soloists, orchestra and choir, then by the
public and all the critics, with a few exceptions. The opera went
off splendidly, soloists, orchestra and choir all did their part
with enthusiasm, which made me very happy, and if I had a
text today I should set to work again with a will.

On Sunday the Philharmonic is playing my "Wild Dove",
which seems to have had a sensational success in London a short
time ago. At least according to reports I read in our newspapers
taken from the London papers. I am just writing there now to
thank them for the invitation to come but, unfortunately, I pro
bably shall not be able to go this time as they are giving "The
Devil and Kate" on Sunday, Dec. 3rd, for the fourth time and
I must stay here for it as I have word that Hanslick has written
to Prague that somebody, if not he himself, will be here.

I must tell you, too, that I was in Berlin. The Philharmonic
there performed my "Hero's Song" on the I3th November and
Nikisch of Leipzig conducted it. I was to conduct it personally
the following day, but I was so indisposed that I had to leave
Berlin with my wife without even seeing Simrock.

Nikisch was greatly taken with "The Hero's Song", proof
of which is that he also played it in Hamburg and is playing it
in Leipzig on the 3oth November and even wishes me to be
there. Perhaps you know, too, that I shall also be conducting in
Budapest. I shall conduct "The Hero's Song", Wihan is to play
the Cello Concerto and then there will be the "Carnival" Over
ture. In addition, there is to be a so-called "Dvorak Evening" at
which our Quartet will play, and Friend Hes from Vienna will
sing.

So you see how fond people are of me everywhere, isn't that
so ? We got the biscuits and I am to send you many thanks from
my wife and children.

Yours affectionately,

Antonin Dvof ak
18 27/12 99.

210

From Dvorak m Prague to A. Gobi (see 33) atSychr&u. The premiere of the opera
"The Devil and Kate" took place at the National Theatre in Prague on November
23rd 1899. Arthur Nikisck (see 160) was conductor of the Gewandhaus Concerts in
Leipzig from 1895, and, at the same time, conducted the concerts of the Berlin Phil
harmonic. Dvorak cancelled his engagement to conduct "The Hero's Song" because
of a sudden nervous breakdown. The concert of the Philharmonic Society in Budapest
took place on December aoth 1899, -with Dvorak present. The concert devoted to
Dvorak's works, was given by the Bohemian Quartet, with the co-operation of the
Viennese Hofoper singer, Vilem Hes, and the famous violinist, Jan Kubelik, on the
evening before.

213. DVORAK ON HIS COMPOSITIONS

Dear Friend,

I looked for and have found the analysis of "The Wild
Dove" by Janacek of Brno but the main motif of the youth
"Trumpet in the distance" is not there-and must be there.

Tromba

It can also be played in the orchestra-but the distance must
be properly tested from where the youth's call comes ... In any
case, the trumpets must play forte so that the audience can
hear it. Then I am sending you Kretschmar's analysis of the
Symphony, but the nonsense-that I made use of "Indian" and
American motifs leave out, because it is a lie, I only sought to
write in the spirit of these American folk-melodies.

But in any case do as you think best. You still have the
tempi well in mind and that is the chief thing. Take the Intro
duction to the Symphony as "leisurely" as possible.

Thank you for your kindness,

I remain, Always your sincere friend,

A. Dvofak.

Greetings to the Suks. Why don't they write?
Give my greeetings to Hofman and Wihanek, too.

211

in Prague to Oskar Nedbal in Amsterdam, February 1900. On the initi
ative of Fritz Simrock, a symphony concert of Dvorak's compositions was held m Berlin
on March znd 1900, at which the Berlin Philharmonic played the "From the New
World" Symphony, the Violin Concerto with Karel Hoffmann, the Symphonic Poem,
"The Wild Dove" and the "Carnival" Overture, with Oskar Nedbal (see 158) conduct
ing. In addition the programme included songs sung by the Russian singer, Ida Ekman.
Nedbal, who at the time was on a concert tour as viola-player with the Bohemian
Quartet in Holland, asks Dvorak to send him an analysis of "The Wild Dove" by Ja-
nacek of Brno (see 14) and of the Symphony by Hermann Kretzschmar from the series
"Fuhrer durch den Konzertsaal". Dvorak was not present at the Berlin concert.

214. DVORAK'S OPERATIC MASTERPIECE
"RUSALKA"

In autumn of the year 1899, when I wrote the libretto
"Rusalka", I had no idea that I was writing it for Antomn
Dvorak. I wrote it not knowing for whom . . .It is true that my
secret wish was that it might come to Dvorak's notice but I did
not dare to approach him . , .Till one day at Christmas-time, the
office of the National Theatre published a notice in the papers
that Dvof 4k was looking for a new libretto through the agency
of the National Theatre. I went to Director Subert and told him
that I had a libretto. I think it was the next day we had an
appointment with Dvorak at the Director's office beside the
stage, and Dvorak, who always had absolute confidence in
Subert's judgment, listened attentively to his opinion of my
Rusalka and took my manuscript home with him. The recom
mendation of Director Subert thus decided the matter . . .

jRusalka was composed during the year 1900. Dvorak ac
cepted my text as it was written and I only had to insert someth
ing new into the first act: Rusalka's Song "Wisdom of Ages"
at the feet of the old Witch. I have the happiest recollections of
my contact with Dvorak at that time from whom I also have two
interesting letters. I think that what brought me close to Dvorak
was our love for Erben, and that the atmosphere of Erben's
Ballads which I tried to communicate to Rusalka, meant more

212

for Dvofak than the actual libretto. At this time Dvorak often
came to see me; he would come not seldom after seven o'clock
in the morning, in fact sometimes he had to get somebody to
call me, and then he was already on his way back from his morn
ing round of the Prague railway-stations where he went to look
at the locomotives. Usually he would begin to speak about
anything and everything but his opera: either about the engines
he had just been inspecting or about pigeons in short, about
everything possible that had nothing to do with the libretto.
Then he would forget why he had come, light the stump of his
cigar and without warning went as he had come without having
come to the point.

In the meantime I had become literary adviser to the
National Theatre; and then he went to see me there. Sometimes
he came with a terrible worry and, at times, with questions that
left me at a loss for an answer. I remember one such conversation.
In the Third Act of "Rusalka", the mad Prince has the following
lines :

"on Heaven and Earth I lay my curse,

I curse both god and spirits all,

Answer then, answer now my call!"

This did not please Dvorak at all. He said to me: "Listen,
I am a believer. I can't curse God in my music." And I had to
go into a long explanation that the libretto does not in any way
force him to do that and that "to curse god" is not to curse the
Lord God. He allowed himself to be persuaded and composed
to the words as I had written them.

First thing in the morning after the premiere, Dvorak called
in to see us at the Theatre office in the best of moods. Straight
away on seeing me, he calls out: "And now, quick, quick a new
libretto!" I reply: "I haven't any, Master." And he: "Then
write something quick as long as I feel like it and a nice role for
Maturova."

I promised. Yes, I promised. But I did not keep my word.

213

From the article by Jaroslav K<vapU"The Birth of Rusalka" .After the successful
premiere of the opera "The Devil and Kate", Dvorak longed to compose another
operatic work and it was no small stroke of good fortune that there came into his hands
a libretto so poetically sensitive and musically inspirational as the libretto of the fairy-tale
opera "Rusalka" by the young Czech poet and playwright, Jaroslav Kyapil (1868-19 50),
later the chief stage-manager and director of the National Theatre in Prague, -with a
deservedly high reputation. The plot of this fairy-tale is adapted from Andersen's tale
of the -water-nymph who greatly desires the love of a man-prince, but hawing been
disappointed in her love, brings about her own destruction and that of her lover.
Dvorak who, in a wonderful way, has embodied in his music the magic poetry of the
fairy-tale and the peculiar charm and fascination of its emotional tension, has created
in "Rusalka" his greatest dramatic work. He was engaged in its composition from April
zist to November zyth 1900. The premiere at the National Theatre in Prague took
place on March 3ist 1901 under the direction of the chef d'opera, Karel Ko<vafo<vic (see
127). The celebrated Karel Burtan (1870-1924) and Bohumil Ptdk (1869-1933), then tenors
at the National Theatre in Prague, Ruzena. Maturo<vd (1869-1938), primadonna and the
first Rusalka, which was one of her best roles.

. MAHLER'S INTEREST IN "RUSALKA"
K. und K, Hofoper Theater.

z 313

1901 Vienna, the 4th May, 1901.

Honoured Sir,

After looking through the piano arrangement which the
Czech Theatre was kind enough to send me, I should very much
like to count on performing your opera Rusalka but would need
first of all the German text. I therefore take the liberty of asking
you to be good enough to let me know if you have such a trans
lation or if you intend to have a translation made and to whom
I should address myself in the matter.

Thanking you for your kind reply to my letter,
I am, with the expression of my deep respect,
Your most devoted

Mahler,
K. und K. Direktor des Hofoper Theaters.

Gustav Mahler (see 208) in Vienna toDwrdk in Prague. His letter is the begin
ning of long negotiations about the performance of "Rusalka" at the Hofoper in Vienna
which, in spite of all Mahler's efforts, did not come to anything. The libretto of "Rusal
ka" was translated into German by the Viennese writer, Josa Will.

314

2 1 6. DVORAK IN THE AUSTRIAN SENATE

. . . Dvorak made his entry into the Senate (Herrenhaus),
along with Emil Frida, on March I4th 1901. That was the real
name of Jaroslav Vrchlicky and that name alone was used in all the
documents and speeches of the Austrian Senate in which he was
mentioned. It was truly a strange coincidence that the raising
of the greatest contemporary poet and the greatest contemporary
composer of the Czech nation to the peerage should become part
of a political action whereby Dr. Korber wanted in some measure
to placate the dissatisfaction of the Czech people dating from
October i8th 1899, when the Language Decrees of Badeni and
Gautsch were annulled and when Czech was completely abolished
from the internal administration of local and central Government
offices and law courts in Bohemia and Moravia.

Dvorak and Vrchlick^ entered the Viennese Senate together.
They were first presented in accordance with custom, to the
President, Prince Alfred Windischgratz, then led to their seats
by Mr. Wohanka. All eyes were turned on them. They were in
morning dress, each had round his neck the large medal of
honour, Litteris and Artibus. The two full-bearded Dioscuri,
were a truly rare sight among the company that filled the
Austrian Senate. They had nothing, alone the glory of their
names famed throughout the whole world. They were indebted
for nothing to any of their forefathers only to themselves, their
genius and their work. On all sides there was keen curiosity as to
how this musician and this poet, this writer of symphonies and
this writer of lyrics, would acquit themselves in the field of
legislative activity, At that time they took the oath in Czech,
for then it was a matter of course. Each member of the Austrian
Senate had in front of him a writing-desk, an inkpot, a sand-
sprinkler, blotting-paper, several pens and several pencils,
Hardtmut no 2, soft and yet not brittle, the best product of its
kind. Dvorak was greatly delighted with these pencils. He took
them all and put them in his pocket. Having left the Senate

215

House, he showed his booty to his wife who was waiting for him
and said: "Look that will be grand composing now!" And
when she asked him what he and Vrchlicky- had done on their
debut in the Parliamentary lists, he replied triumphantly: "We
cut them all to ribbons!" That day Dvorak voted in the Senate
for the first and last time. He never appeared there again. His
seat remained deserted . . .

From "Antonin Dvorak as Politician", by Josef Penizek (1858-1932), the Viennese
correspondent of the Prague daily, "Narodni listy". Dvorak and, along with him, the
great Czech poet, Jaroslat) Vrchlicty were appointed, on April 14$! 1901, members
of the Austrian Senate (Herrenhaus). The session at which they were presented -was
held on May i4th of the same year. Count Badeni, Dr. Von Korber, Paul Gautsch:
Prime Ministers of the Austrian Government; Josef Wohanka, Czech politician and
member of the Senate. Litteris et artibus^ a distinction awarded to Dvofik by the
Austrian Emperor in November 1898.

217. PUBLIC HONOURS

. . . Dvorak received the congratulations of the public (on his
appointment as a member of the Austrian Senate) by a happy
coincidence of circumstances in a way which will scarcely
present itself again to the Prague musical community of both
nations -on the occasion of a concert given on April i^th by the
Berlin Philharmonic. It was the occasion of a manifestation
such as no other artist on the international concert tour of
this excellent body of musicians will be vouchsafed. After the
Symphonic Poem "The Wild Dove", the conductor, Arthur
Nikisch, shook the thunderous applause from his own person
and with a gesture of his hands, transferred it to the composer
present in the box of the President of the Czech Academy, Josef
Hlavka. The whole Philharmonic Orchestra rose to their feet
and applauded when Dvorak came forward to the balustrade to
thank the audience and the artists for the honour shown him but
there was still no end to the unanimous jubilation till the Master
appeared on the platform where he was welcomed with stormy
ovations and was recalled again and again.

216

Josef Bolelka (see i8i),_/ro? an account of public honours sho-wn Dvorak. The
concert of the Berlin Philharmonic, conducted by Arthur Nikisch (see 160 and 211),
here referred to, took place in Prague on April i5th 1901.

2 1 8. ANNIVERSARY CELEBRATIONS IN VIENNA

Dear and Beloved Master,

You see you should have been here yesterday. The Viennese
missed you very, very much. It was a success that it plucked at
one's very heart-strings. I am so very fond of you that I thought
to myself that I was maybe not objective enough. That goes for
Nedbal, too, when I heard how splendidly your t ings sounded
under his baton, but when I looked round me in the hall I had
no need to fear that it was only I who liked them. The people
were jubilant and the best Viennese audience was there-German.
That the Czechs were beside themselves with joy goes without
saying.

Three Ministers, among them the Minister of Education,
were present and all were carried away. They said to me personally
how lovely and splendid it was.

The enclosed cuttings are proof that I am not the only one
who holds you in such high respect and is so fond of you. I am
sending them at the request of Nedbal and Mr. Hoffmann so
that you will have to believe them when they tell you how success
ful everything was.

The orchestra played with enthusiasm.

I am, Respectfully and devotedly, Your

Greif.

Vienna, 18/12 1901.

Emanuel Greif, Czech Civil Servant in the Austrian Presidium of Ministers in
Vienna, to Dvorak in Prague. On the occasion of Dvorak's 6oth birthday, there was

217

held in Vienna, on the rythDecember 1901, a Jubilee Concert by theCzech Philharmonic
under Oskar Nedbal (see 158), with a programme including the "Carnival" Overture, the
Violin Concerto, with Karel Hoffmann as soloist, and the Symphony, "From the New
World".

219. RICHTER-AN ENTHUSIASTIC PROPAGATOR

Dearly esteemed Friend,

After the great delight which your D major Symphony
gave us all yesterday, I feel I must write you a few lines. I do
not know whether you are informed that in Manchester and the
towns through which I am travelling with my orchestra we are
very much engaged with your compositions; your name is
among those that appear in my programmes most frequently.
I am writing this to you because I think it gives you pleasure,
not, however, to win your praise. It is my duty to devote all my
talent to the propagating and support of good and beautiful
works ; and you make the fulfilment of that duty easy and delight
ful. So no word of thanks or I shall not send you any more pro
grammes . . .

I am proud that you should have honoured me with the
dedication of this magnificent symphony, I shall perform it at
my London concerts-in May of this year again ; it will be its
second London performance ; the first was years ago, immediately
after its publication.

Shall I not perhaps see you at Bayreuth? Tou mustn't fail
to be there!

With best greetings to your whole family,
Your devoted

Hans Richter.

Ejchter in England to Dvordk in Prague, 24. I. 1 902 For the dedication to
Richter of the D major Symphony see 37, 45, 53 and 54. For the visit to Bayreuth
see 207,

218

220. A RARE PERIOD OF CREATIVE INACTIVITY

Dear Friend, 19 / oa.

I cannot say how glad I should be to do what you ask me,
and how glad I should be to come and see you again at Krome"-
f IT, but I expect it will be in vain to decide to do it I have been
without work for more than 14 months, I cannot make up my
mind to anything and I do not know how long my present state
will last as long as I do not find what I am seeking for I must
put everything else aside, and so I cannot promise you anything,
for which I am very sorry. Perhaps you could ask Mr. Nedbal,
I am sure he would be very pleased to do it. Please do not be
angry with me and apologize for me to the gentlemen of the
"Moravan" and ask them to excuse me.

I also had an invitation from Leipzig from the Gewand-
haus and then from Prof. Klengl he played my" Cello Concerto,"
but I declined that there, too,

With kind regards to your wife and warm greetings to
yourself,

I remain, Your

Ant. Dvorak.

Dvorak to Dr. Emil Kozdnek (see 159) m Kromerl&.i4 months without work:
i. e. from the completion of "Rusalka" at the end of November lyoo.Jutiu? Klexgel
(1859-1933), famous German violoncellist, soloist at the Gewandhaus Concerts in Leipzig.

221. DVORAK AND MEYERBEER

. . . "Master Dvorak was fond of Meyerbeer, that's music for
you, he would say. We were studying "Les Huguenots" and after
a piano rehearsal when I was leaving the theatre, Dvof ak stopped
me: "I heard some strains of Meyerbeer, I am looking forward
to it." During the first performance, Kovafovic came to me in

219

the interval and said that Dvorak was looking for me, that he v^as
enthusiastic about it and must tell me so. At that moment I
hear Dvorak's voice in the passage: "Marak, Marak, where is
Marak ?" I ran out and called: "I am here, Master." Dvorak quite
red in the face with excitement looked at me but said nothing,
and so I asked him: "Is there anything you wish, Master?"
Dvorak looked at me a little while longer and then said brusque
ly: "No, nothing," and went off.

From "Reminiscences of Antonin D-nordk." by the celebrated Czech tenor, Qtakar
Marak (1872-1939), who, at the new production of the opera "Les Huguenots" on the
z6th March 1903, sang the role of Raul.

222. DVORAK AND CHARPENTIER

When Charpentier's "Louisa" was celebrating its first
triumphs, Dvorak often used to come to the cafe with a piano
arrangement of this opera under his arm. Once, having come
later than he, I found him sitting engrossed in the study of this
opera. On seeing me, he nodded for me to sit down beside him,
whereupon with serious mien he drew my attention to a certain
place: "Look at that there, Charpentier is a strange kind of
musician. Everywhere false notes. For instance, where there
should be C he has C sharp, where A flat he has A. Then this
chord here, you can see at once that it's wrong." Suddenly, as if
he had just remembered that I was his former pupil, he said :
"Now, how would you do it better?" I diffidently gave my opin
ion. But Dvorak looked at me with disdain, and, pointing to the
chord in question, said: "No it's right like that!"

A reminiscence recorded by Josef 'Famera (1883-1914), a Czech pianist who often
accompanied Frantis'ek Ondficek on his concert tours Charpentier's opera "Louisa"
was performed by the Prague National Theatre for the first time on February rjth
1903. It is apparent that Dvorak was very interested in the work also from the fact
that after the premiere he bought the piano arrangement of the work and studied it
attentively as is to be seen from the marginal comments, approving and disapproving,
entered in his handwriting.

220

223. AT WORK ON A NEW OPERA

... I am now working at a big opera with words by Dr. Jaro
slav Vrchltcky( Armida) and am happy that after such a long rest
I can work again at something that I want and not that others
want.

Today I received a contract from Director Mahler regard
ing the performance of Rusalka at the Hofoper and I firmly
hope that it will take place in autumn.

Looking forward to seeing you in Vienna, I am, with great
respect.

Your deeply obliged and devoted

Antonin Dvordk.

D*uordk to the Czech Minister in Vienna, Dr. Antonin Rezek, in autumn 1902.
The opera "Armida" for which Jaroslav Vrchlicky wrote the libretto an episode from
the romance of the Princess of Damascus, Armida, the Crusading knight, Rinald, and
the Syrian sorcerer, Ismen, after Tasso's "Jerusalem Liberated", was Dvorak's last
work and was composed between March nth 1902 and June a^th 1903.

224. DVORAK'S LAST CREATIVE PLAN

Dear Sir,

I have had your libretto "Horymir" in my hands for a
long time and I thank you for sending me the book. I have
read it and it interests me. I shall have to read it more often
before I can decide and then I should discuss the matter with
you. I do not promise anything but I should be glad if I could
again start to work on a new dramatic composition, As you
perhaps know I have just now finished a big opera by Jaroslav
Vrchlick^ (Armida) and I have again come to the conclusion
that it is good and neccessary for the composer to discuss every
thing orally with the librettist, where it is necessary to shorten

221

or again to add something or change it altogether. As you, how
ever, are far from Prague, that will not be possible and so I
think that when I am back in Prague after the holidays, I shall
come, if there is a station there, and see you. But it would be
good if you would put into the libretto what is absolutely essen
tial for me.

That is, mainly the stage directions what is happening and
how for the principal characters, to indicate clearly when they
come on and when they leave the stage. There is a great deal of
that and it is entirely missing in the libretto. So I shall read
in your libretto again and again, maybe a number of times every
day, till I get a complete grasp of it, and I assure you once more
that it would give me great pleasure to be able to decide again
for a dramatic work, and if it should be "Horymir", it would
give me special pleasure.

Antonin Dvorak.

in Vysokd to Ing. Dr. Rud. Stdrek (1871-1920) in Lang-Enzensdorf by
Vienna, 20. VII. 1903. Dr. Starek wrote several librettos for operas and the libretto
"Horymir", based on a Czech legend, which he offered to Dvorak. As the above letter
shows, Dvofik was seriously interested in the libretto and soon after finishing "Armida"
began to make sketches of some of the basic thematic motifs. They were the last mani
festations of his creative spirit.

225. THE VYSOKA MINERS AND "HORYMlR".

... I have happy memories of the end of the holidays in 1 903
when my Father had the libretto prepared for the new opera
"Horymir" and had even made a number of sketches for it.
At Vysoka he told the miners that he was going to write an
opera and that in one act there would be real miners and that
they would work in the mine with exactly the same machines
as they worked with in the PHbram and Bfezohorske" mines.
And then Father promised them that at the premiere of the

222

opera the National Theatre must give him the whole auditorium
where the miners from Pfibram would take their places as the
main part of the audience so that they might give their opinion
about how far the act gives the impression of reality. The miners
expressed their doubts as they thought that it would be very
difficult to show a whole mine at the theatre with all its beauties
and terrors. Then Father would tell them that all that was the
business of the stage director to see that it was right and assured
the miners that it must be possible when there are operas where
whole acts are played under water or when, as in one of his operas,
a real Hell is conjured up on the stage, and real devils with tails.

A reminiscence recorded by the Master's son Otakar, in "Ant. Dvorak in his Rela
tions with Vysoki and its Miners." See 223. The plot of the opera "Horymir" was to
have been set partly in the mines of Brezove" Hory near Dvorak's summer residence at
Vysoki. This may partly explain Dvorak's interest in the libretto-

226. DVORAK'S ABSORPTION IN DRAMATIC MUSIC

... In the last five years I have written nothing but operas.
I wanted to devote all my powers, as long as God gives me the
health, to the creation of opera. Not, however, out of any vain
desire for glory but because I consider opera the most suitable
form for the nation. This music is listened to by the broad
masses, whereas when I compose a symphony I might have to
wait years for it to be performed. I got a request again from Sim-
rock for chamber works which I keep refusing. My publishers
know by now that I shall no longer write anything just for them.
They bombard me with questions why I do not compose this
or that ; these genres have no longer any attraction for me. They
look upon me as a composer of symphonies and yet I proved to
them long years ago that my main bias is towards dramatic cre
ation.

From an interview with Dvorak for the Vienna daily, "Die Reichswehr" , i.III. 1904.

223

227. DVORAK THE MUSICAL DRAMATIST

... I was among those who in Dvorak's compositions always
felt and recognized all the signs of great expressive powers for
dramatic music.

From the essay: "Czech Musical Trends" by Leos Jandcek (see 14).

228. THE LAST CONTACT WITH LONDON

"After Armida can we expect another opera from you?"
Yes. I have three texts here, two Czech things and one with
a Turko-Bulgarian theme ; I do not know yet for which mate
rial I shall decide.

Other offers I reject without exception. I got a splendid
offer this season from Berlin. I was to go on a big concert tour
with the Berlin Philharmonic through Austria, Germany,
France and Italy. In London they offered me the direction of the
Popular Concerts of which one concert was to be of my own
compositions and I was also to appear as a pianist. Especially as
regards the latter, I hesitated very much, because I do not feel
so sure of myself as a pianist as to dare to undertake a public
appearance. I have also been asked to conduct concerts in Lvov
and Warsaw but I declined all these offers as I did not wish to
bind myself...

From an interview for the "Reichsixehr" (see 226).

224

229. DVORAK AS PIANIST (I.)

Dvorak was not by any means a piano virtuoso, he had not
acquired the technique for that, but his playing was sound, full
of feeling and manly. He did not "thump" (as is usual with un
trained players) and when he played things which he had to
practise, as for instance the Dumky, he showed remarkable
feeling for fine differences of touch and in pedal technique.
With him I often played new works of his and various other
composers, as duets, mostly from score-I at the top and he at
the bottom, and it went very well because he read scores, even
complicated ones, with remarkable ease. Sometimes I was in
his way, and then he finished it himself. And even though, in
the most complicated passages, he "swindled" a little as we say,
it always gave a definite idea of the whole and the same was the
case when he played over his pupils' things from score. More
over he had a very exact notion of how a thing should be played;
he was severe in his demands on pianists and also had his ideas
about how to compose for piano. He liked the piano and used
to say: "Good music must also sound well on the piano."
In his last period (I mean after Rusalka) he did not compose at
the piano nor in his young days when he had no piano. And
with what fire he then played it over! When we used to play
his pince-nez would often fall at the forte passages and he used
to abuse it roundly. He seldom played the piano arrangement
of his things for four hands, but when we sometimes played
them he stood behind us and tapped various things in time with
us on our backs and made practical demands as regards tempo
and touch, at times it was too loud for him, then again it was not
with sufficient feeling, or again he wanted an orchestral ff, but
no "thumping"...

From a letter by Josef Suk (see i).

225

2 3 o. DVORAK AS PIANIST (II.)

I recall that before I came to know the Master personally
I often heard it said that he was no pianist. It was perhaps true
but only from the strictly virtuoso point of view. Dvorak was
not a virtuoso but he had a very fair command of the piano
along with a musicality which was peculiarly his. At least as
regards playing from score I can boldly affirm that the accuracy
with which he played a score from sight might be the envy of
many a piano virtuoso. I do not know, however, how he acquired
this confidence in playing from score but I think he achieved it
not so much from the study of scores by other composers, as in
his own compositional work and his remarkable genius for com
bination. Later he himself made an interesting comment in this
connection. "When I play from score," he said, "I follow the
top part and the bass, and from that I can imagine what is in
between."

Josef Michl (see 4) : "My First Lesson with Antonin Dvorak."

231. AN INVITATION

19 26/2 04.
Dear Friend,

I am looking forward very much to your arrival in Prague.
The main rehearsals are on Monday at 10 a. m. and on Tuesday
the dress rehearsal (10 a. m.).

With kind regards, Your

Antonin Dvordk.

Dvorak to 'Leos Jandgek (see 14) in Brno.

226

232. DVORAK FEARS ILLNESS

He was afraid of his illness. At the beginning of 1 904 we
were sitting in the Imperial (cafe) when Dvorak entered. His
face was overcast and he complained of a pain in his side. The
doctor says that it is lumbago. The composer, Malat, who was
present said well-meaningly: "Sometimes they say it's lumbago.
My brother-in-law had a pain like that and they said, too, that
it was lumbago but it was the kidneys, and my brother-in-law
died within a month." Dvorak got terribly angry. "What are you
telling me that for? Was anybody asking you about it? You
want to frighten me." etc, he thundered out at the unhappy
Malat who, unfortunately, proved to be right...

From " Musical Memoirs" by Ladtdcvu Dolanskj; (see 73) .%z Malat, Czech musical
pedagogue and composer (1843-1915)

233. DVORAK SERIOUSLY ILL

Dvorak, on hearing the name Dr. Kozanek, gladly admitted
us to his presence (3. IV. 1904, in the forenoon). We went in.
The Master was lying on a sofa and received us with great
friendliness. He himself began to tell us that he was somewhat
ailing but that it wasn't so bad. He was looking forward to get
ting quite better in Dr. Kozanek's comfortable household. Then
Dvorak got up and sat down at the table where we were sitting
and began to tell us about things of everyday interest ; as regards
musical matters, he touched upon his latest composition and
his plans for the future. During this conversation, he showed
great mental alertness and mentioned several times how he was
looking forward to Kromeriz. Then we took our leave of him.
We Ifcft the Master's house in a depressed mood. We gave

227

the house in which the Master lived one more glance and looked
at each other with foreboding in our eyes. The eyes of both of us
were bright with tears. And why? After all Dvorak was not
dangerously ill. After some time Dr. Kozanek said: "If only we
don't lose him!" It was an affecting moment...

From the recollections of Ferdinand Vach (1860-1939), founder and for many
years conductor of the famous "Choral Union of Moravian Teachers". Dr. Emil Kozanek
see 159. The Choral and Musical Society "Moravan" in Kromefiz in Moravia were
preparing for a performance of Dvorak's ballad, "The Spectre's Bride", to take place
oa the yth and 8th May 1904, with the composer conducting, and Vach, along with
Kozanek, went to visit Dvorak, when in Prague to attend the first Czech Musical Festival,
which was held on the 3rd and 4th of March 1904. At this Festival, performances were
given of Dvorak's oratorio "Saint Ludmilla", the Symphony "From the New World"
and the Violin Concerto in which Frantistek Ondfi'c'ek was the soloist. Dvorak himself
was prevented by illness from taking part in the Festival.

234. DVORAK'S DEATH

A month ago Master Dvorak lay down not to rise again.
The celebrations of the Festival which were opened as a mark
of honour with his noble oratorio "Saint Ludmilla" and at which
the outstanding works of his other creative production were
fittingly represented these celebrations he was unable to attend.
His strong, healthy body was struck down by a heart stroke
when bladder trouble and influenza had already confined him to
his bed. As the Master felt easier yesterday, the doctor, after
10 days in which he had not left his bed, allowed him to get up
to his dinner. His wife and son Otakar dressed him and with their
help he sat down in his chair and ate a plate of soup with unu
sual zest. Scarcely had he finished when he said: "I feel kind
of giddy. I think I had better go and lie down." These were the
Master's last words, for on the instant he turned pale and then
dark red and fell back in his chair. He wanted to say something

228

but only unintelligible sounds came from his throat. His pulse
was still to be felt and then was very weak and finally stopped
altogether, and the doctor, who had been sent for in haste,
could only certify the Master's death.

Report in the Czech musical magazine "Daltbor". Dvorak died in his Prague
home at midday on May ist 1904

235. A SERIOUS LOSS FOR THE MUSICAL WORLD

. . . The Warsaw Philharmonic changed the programme of
its Symphony Concert. In honour of his memory they included
the "Hussite" of the great Czech composer, Dr. Antonfn
Dvorak, of whose death news has just come in. I stand uncertain
ly with the others in the crowded foyer. Is it then true that he
should have died?

From reminiscences by Leosjandcek (see 14) -The news of Dvorak's death spread
rapidly throughout the whole world and awakened, especially in musical circles, excep
tional feeling, for it was realized that not only the greatest living Czech composer had
passed away but one of the greatest and most famous composers in the world.

229

It was unfortunately true. Dvorak was dead. . .

But his work has not died. This work^ nourished by honest
Czech musicianship and strengthened by the gift of creative genius,
has swelled to a mighty song of ecstatic love for life and its Creator \
a song which, for its pure and enduring beauty and for its indivi
dual flavour imbued so unmistakably with the spirit of the artist's
country^ is received with love and gratitude wherever it is heard
and in every part of the globe.

The path along which this work gradually grew, the remarkable
path of Dvorak's life^ did not in its singular rise to glory blaze into sight
like a comet only shortly to be extinguished,, but marks a permanent
victory, the fruits of which are one of the happiest achievements
that Czech art and Czech culture have given to the world.

O. $.

2,31

LIST OF ILLUSTRATIONS

1 . Nelahozeves, Antonin Dvofak's native village (contemporary en
graving).

2. The family house and birthplace of Antonin Dvorak in Nelahozeves.

3. Facsimile of a page from the manuscript of the first String Quartet
in A major.

4. Antonin Dvorak (c. 1872).

5. The Interim Theatre in Prague where Dvorak was employed as a
member of the orchestra in 18621871.

6. Johannes Brahms.

7. Facsimile of a page from the manuscript score of "Stabat Mater".

8 . The Czech violin virtuoso, FrantiSek Ondf ic'ek.

9. Hans Richter.

10. Letter from Hans Richter to Dvorak.

1 1 . Music publisher Henry Littleton.

12. Littleton's residence in Sydenham.

13. Dvorak and his wife in London.

14. Dvofak's summer retreat in Vysoka.

15. Facsimile of a page from the autograph score of the D minor Symphony,
op. jo.

1 6. Facsimile of a page of a letter from P. I. Tchaikovsky.

233

1 7. Dvorak in the robes of an honorary doctor of Cambridge University.

1 8. Jeanette Thurber.

19. S. S.Saale on which Dvorak sailed to America and returned again to
Europe three years later.

20. Facsimile of a page from the sketch for the Symphony "From the New
World".

21. School and church in Spillville, America.

22. The Kneisel Quartet in Boston.

23. Leos Janacek.

24. Dvorak (1886).

Opposite the title page: Antonin Dvorak (1878).

234

ANTONIN DVOKAK
LETTERS AND REMINISCENCES

Translated from the Czech
by Roberta Finlayson-Samsour
Published by Artia, Prague, Czechoslovakia
Copyright 1954 r
krasne* literature

Czech.

IU2

2 03

110694

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